Muncă decentă (lat. labor decens, engl. decent work, germ. gute Arbeit, span. trabajo decente) este un concept propus de Organizația Internațională a Muncii , care stabilește condițiile pe care trebuie să le reunească o relație laborală (o relație contractuală, de muncă) pentru a satisface standardele laborale internaționale, astfel încât munca să se realizeze de formă liberă, echitabilă, în condiții de siguranță, și omenește demnă. Ceea coboară mai jos de aceste standarde, trebuie considerat ca violări aduse  drepturilor umane ale lucrătorului afectat, și trebuie considerat că, în asa caz, nu avem de-a face (la modul propriu), cu o activitate laborală liberă, ci doar cu o simulare a acestei libertăți

Concepte
Munca (activitatea laborală) decentă, sintetizează aspirațiile persoanelor pe perioada vieții lor laborale (pe durata "activității lor în muncă"). Înseamnă posibilitatea de accedere la o ocupație productivă care să genereze un venit echitabil, să genereze securitate în muncă, să genereze protecție socială familiei (să își poată, lucrătorul în discuție, întreține familia), să genereze perspective mai bune de dezvoltare personală și de integrare socială, să genereze acea libertate care sa le permită subiecților să își exprima opiniile, să se organizeze și să participe la luarea acelor decizii care le influențează viața, și în afara de asta, egalitate de șanse și de tratament pentru toată lumea (fie femeie, fie bărbat).
 Pentru obținerea acestui ambient denumit "muncă decentă", unele dintre instrumentele pe care Serviciile Publice de Ocupare a Posturilor de Muncă trebuie să le mențină, dezvolte și aprofundeze sunt "Itinerariile Personalizate de Inserție", ca o modalitate de acordare a atenției personalizate înspre a se gestiona politici active de ocupare cât mai efective și cât mai afective.

În ultimul deceniu al Secolului XX și în primul deceniu al secolului al XXI-lea, o bună parte dintre economiile europene, împinse din urmă de schimbările tehnologice, au cunoscut o profundă restructurare. Globalizarea, erupția (explozia) societății informaționale, noile tehnologii de comunicare și apariția unei noi relații capital/muncă, au accelerat terțiarizarea economiei și cu siguranță a făcut să dispară industria grea și o mare parte din industria manufacturieră. Acest lucru a declanșat o dramatică relocare a resurselor de la un sector la altul (inclusiv a resurselor umane și laborale). Milioane de lucrători au ajuns sa îngroașe rândurile șomajului.

Ne confruntăm cu o nouă modernitate (Beck, 2006). O societate construită în jurul valorii unei ordini post-tradiționale, în care individul se vede supus influenței unui mediu social din ce în ce mai amplu, mai global, dependent de consecința unor evenimente și influențe îndepărtate, care il afectează ca și când acestea i-ar fi foarte aproape. Lucrătorul a fost convertit în nomad, dislocat de orizonturile lui apropiate (deși încă mai păstrează legături puternice cu instituții, localități, familiari, conaționali), a fost deconectat de la geografia cunoscută, și de la experiența generațiilor anterioare. Societatea - și bineînțeles, piața muncii - se individualizează.

Lucrătorii sunt constrânși să accepte mobilitatea  geografică (sunt constrânși la o viață ambulantă) și mobilitatea funcțională (schimbarea din mers a profesiunii), cum niciodată înainte n-au mai fost constrânși. Organizarea flexibilă a producției ii forțează la o continuă schimbare și la necesitatea de a-și asuma riscuri. Trecem, de la o societate a muncii, la o societate a riscului, la o societate în care se consolidează precaritatea (sărăcia), individualismul și confuzia. Diferența între societatea industrială și cea a riscului constă în faptul că schimbarăm logica de producție și de distribuție a bogăției, cu logica de producție și de distribuție de riscului, considerat acesta ultimul, ca ansamblul de amenințări viitoare care depind de deciziile luate în fiecare moment din prezent. Deciziile de luat sunt din ce în ce mai dificile, mai complexe și necesită din ce în ce mai multă reflecție, informație specializată și, de multe ori, sprijin profesional.(Beck, 2007)

Individualizarea și flexibilizarea pieței de muncă se extind, ca rezultat al sfârșitului societății industriale pe care o cunoscurăm după al Doilea Război Mondial. Individul, care înainte se structura din punct de vedere social, prin profesia sa, clasa socială și capacitatea de consum, se vede acum eliberat, dar în același timp obligat, de a alege totul, de a-și construi propria biografie, într-o specie de bricolaj care însumează identitatea, cariera profesională și caracterul.

Lucrătorul, sprijinit doar pe calificarea sa (pe capacitatea sa profesională), trebuie să ia decizii care să ii permită să se adapteze la un viitor incert. Va trebui să facă asta de o formă responsabilă și autonomă, si va avea nevoie de orientare (îndrumare), de informare și de ajutor de specialitate. Aceasta este una dintre cele mai clare simptome ale unei societăți incerte, flexibile și individualizate. În acest sens, o nouă propunere este cunoscută ca "piața de muncă tranzițională"; o nouă abordare, care oferă instrumente pentru gestionarea riscurilor, pe toată durata vieții lucrătorului. Putem defini "piețele de muncă tranziționale" ca pe acelea care permit și promovează nomadismul (itineranța, mobilitatea)  lucrătorilor pe durata diferitelor situații laborale, intre care figurează tranziții între perioadele de ocupație laborală și cele de șomaj, schimbarea de la o intreprindere la alta, schimbare de ocupații, diferite tipuri de contract, muncă remunerată sau voluntară. Se tratează de o viziune a pieței în termen de fluxuri și nu de stocuri, o viziune care schimbă radical conceptul politicilor stadiului de bunăstare și, desigur, politicile în ce privește ocuparea forței de muncă, politici care deja nu mai pot fi concepute ca programe, ci, ca acompaniament. (Mercader, 2009)

Origine
Conceptul "muncă decentă" a fost introdus de către Juan Somavía, în primul său raport în calitate de Director General al Organizației Internaționale a Muncii (OIM) în 1999.

Termenul a fost introdus ca răspuns la deteriorarea drepturilor lucrătorilor, deteriorare care s-a înregistrat în întreaga lume începând cu decada anilor 90, ca urmare a procesului de globalizare și a necesității de a aborda dimensiunea socială a globalizării.

Vezi și
 Exploatarea laborală
 Dreptul laboral
 Organizația internațională a Muncii

Referințe

Bibliografia
 Beck U.(2006). "La Sociedad del Riesgo", Ed. Paidós, Barcelona, ISBN 84-493-1892-0
 Beck U. (2007). "Un Nuevo Mundo Feliz,la Precariedad del Mercado de Trabajo en la Era de la Globalización". Ed. Paidós, Barcelona, ISBN 978-84-493-0968-7
 Mercader Ugina J.R.(2009): "Trabajadores Maduros,un Análisis Multidisciplinar de la Edad en el Ámbito Laboral". Ed. Lex Nova Valladolid,ISBN 978-84-9898-108-7

Link-uri externe
 Somavía, Juan (1999). Trabajo Decente: Memoria del Director General, OIT
 ¿Qué es el trabajo decente?, por Virgilio Levaggi, Peripecias, Nº 46, 2 de mayo de 2007
 Espinoza, Malva (2003). Trabajo decente y protección social, Santiago, Oficina Internacional del Trabajo, ISBN 92-2-314231-8
 Rodgers, Gerry. «El trabajo decente como una meta para la economía global», Boletín, Cinterfor, Nº 153, 2012
 Libro "Responsabilidad Social Empresaria y Trabajo Decente" editado por el Ministerio de Trabajo de la Rep. Argentina, la CEPAL y el PNUD
 Díptico explicativo con imágenes. Unión Sindical Obrera
Muncă

Muncă decentă


Freedom is the 17th studio album by Canadian-American musician Neil Young, released on October 2, 1989. Freedom relaunched Young's career after a largely unsuccessful decade. After many arguments and a lawsuit, Young left Geffen Records in 1988 and returned to his original label, Reprise, with This Note's for You. Freedom brought about a new, critical and commercially successful album. It was released as an LP record, cassette tape, and CD.

Writing
The songs on Freedom were written over the span of more than a decade. "Too Far Gone" dates to the Zuma era, and would be performed regularly in concert in 1976. "The Ways of Love" was written in the mid-1970s, attempted for Comes a Time, and first performed live during the May 1978 Boarding House concerts for Rust Never Sleeps. "El Dorado" would first appear as "Road of Plenty" in concert in 1986. Young would rehearse the song with Buffalo Springfield during a brief attempt at a reunion that year. "Someday", "Wrecking Ball" and "Hangin' on a Limb" appear on Summer Songs, a 1987 collection of solo performances of eight new songs that Young would release on his website on Christmas Day, 2021

"Crime in the City" would first be performed and recorded with twelve verses as "Sixty to Zero". He wrote the song in 1988 while sailing in the Pacific: "I was in the middle of the ocean. I was sailboat sailing to Hawaii. I'd been out at sea almost 10 days - about halfway over there. I hadn't seen anybody for about 8 days - no planes, no other boats - just the horizon. So I was pretty spacey out there by then. In one night I wrote three songs: 'Ordinary People', 'Sixty To Zero' and 'Days That Used To Be'.

"Don't Cry" was inspired by a relationship of Niko Bolas' that had fallen apart. The music was influenced by Roy Orbison. According to Young in a November 1990 Vox interview with Nick Kent: "I've always put a piece of Roy Orbison on every album I've made. His influence is on so many of my songs. I even had his photograph on the sleeve of Tonight's The Night for no reason, really. Just recognizing his presence. There's a big Orbison tribute song on Eldorado called Don't Cry. That's totally me under the Roy Orbison spell. When I wrote it and recorded it I was thinking 'Roy Orbison meets trash metal'"

"Rockin' in the Free World" originates with a phrase Young borrowed from guitarist Poncho Sampedro. Sampedro would explain in a 2013 interview for Rolling Stone: "We were on the road with the Lost Dogs in 1989. I was riding on Neil's bus at the time. I was his cook on the bus, so we were hanging out 24/7. All this stuff was going down with the Ayatollah. I don't know if you remember that footage of them passing the casket along over the heads of thousand and thousands of people. There was a lot of 'Hate America' demonstrations and we were supposed to do this exchange. We were going to Russia for the first time. It was a cultural exchange. They were getting us in exchange for the Russian Ballet. And it just fell through. Neil was like, 'Damn, I really wanted to go.' I said, 'Me too. I guess we'll have to keep on rockin' in the free world.' He was like, 'Wow, that's a cool line.' Then I said it again later and he said, 'That's a really good phrase. I wanna use it.' He told me he was going to use it. The next day he came up to me and told me to check out this lyric sheet. I only questioned one of them. I think it was 'Keep Hope Alive' or something. He said, 'No, no, no. That's a good one.' We just started singing it and he taught me the harmony part. That night we played it in Seattle. It was this cool theater. We didn't even rehearse it with the band. I was telling the chords to [bassist] Rick Rosas as we went along."

Recording
The first songs recorded for the album were "Someday" and "Crime in the City". Young recorded the songs at his home studio at Broken Arrow Ranch in late July 1988, in between sessions for the CSNY album American Dream The sessions took place during a break in the tour supporting This Note's for You, and feature performers from his touring band. "Ordinary People" from Chrome Dreams II was also recorded at this time, as was a driving, electric version of "Crime in the City". Both the electric version and the acoustic album version were recorded as "Sixty to Zero" with all verses. The album take was later edited to remove the first half of the verses. Young explained the edit in a contemporary interview for Dutch radio: "It's too long as one thing. It's meant to stand by itself, not to be played with anything else. If I play the long version in concert, it's too overpowering. If you can imagine listening to anything for 18 minutes, it disturbs the flow. It's too much of the same thing so I do the short version.

After the completion of the Bluenotes tour in December 1988, Young booked time at the Hit Factory in Times Square, New York with bassist Rick Rosas and drummer Chad Cromwell, the rhythm section from the previous tour. Young would dub the trio "Young and the Restless", a play on the name of the long running soap opera. During the sessions, Young would pursue the loudest sound possible by routing his guitar "Old Black" through different combinations of amps. According to producer and sound engineer Niko Bolas, the loudness was in response to the saccharine production of American Dream: "That record came about as a direct result of doing CSNY. Neil was so pissed off at having to do a record that he didn't want to do, with pretty songs that he fuckin' hated, that he just retaliated." The trio recorded the songs "Heavy Love", "Wrecking Ball", "Cocaine Eyes", "Don't Cry", "On Broadway", "El Dorado" and "Boxcar". Young sequenced an early version of Freedom from these songs plus the earlier "Someday" and "Crime in the City" with a proposed title of Times Square. Instead of releasing the album, Young embarked on a tour of Australia and then Japan with the Restless plus Ben Keith and Poncho Sampedro. He would dub this band the lost dogs. To promote the tour, Young released a five-song EP of the Hit Factory songs, Eldorado. The release was limited to Australia and Japan.

Though the Times Square tracks would still from the core of the album, Young would continue to incorporate more material. At his ranch in March 1989, Young would record new songs "No More" and "Rockin' in the Free World" and revisit "Too Far Gone" and "The Ways of Love" from the 1970s. In July, he would round out the album by recording "Hanging on a Limb" and overdub vocals to "The Ways of Love" with Linda Ronstadt. A live acoustic take of "Rockin' in the Free World" from Jones Beach from June would open the album. "Rockin' in the Free World" became one of Young's signature songs and a live favorite, and bookends the album in acoustic and electric variants, a stylistic choice previously featured on Rust Never Sleeps. Young explains the wide array of music in the album thus: "I knew that I wanted to make a real album that expressed how I felt. I just wanted to make a Neil Young record per se. Something that was just me, where there was no persona, no image, no distinctive character like the Bluenotes guy or the guy in Everybody's Rockin'. It's the first time I've felt like doing an album like this in years." Although he originally planned to release a purely electric rock album ("nothing but abrasiveness from beginning to end"), Young says the final product is "almost like listening to the radio - it keeps changing and going from one thing to another."

Tour

Saturday Night Live
Young would perform the songs "Rockin' in the Free World", "Needle and the Damage Done" and "No More" live in September 1989 for the television show Saturday Night Live. For the performance, Young played with Poncho Sampedro, Charley Drayton and Steve Jordan. In concert, Young would typically play "Rockin' in the Free World" well into the set, when the band's energy is at a high. To achieve the same level of energy, Young worked out with his trainer 30 minutes prior to the performance. He explained to author Jimmy McDonough:

Comedian Dennis Miller would later say that "Rockin' in the Free World" was the single greatest performance on the show in its history.

Reception

Freedom has received mainly positive reviews, especially in comparison to the rest of Young's '80s work. AllMusic's William Ruhlmann explained that it "was the album Neil Young fans knew he was capable of making, but feared he would never make again." He also stated that "there were tracks that harked back to [his] acoustic-based, country-tinged albums." Robert Christgau, writing for The Village Voice, rated it an A. He declared that it contains a combination of "the folk ditties and rock galumph that made (Young) famous" and "the Nashvillisms and horn charts that made him infamous." He also said "it features a bunch of good stuff about a subject almost no rocker white or black has done much with--crack". David Fricke of Rolling Stone rated it five out of five stars. He called it "the sound of Neil Young, another decade on, looking back again in anger and dread" and that it is about "the illusion of freedom" and "Young's refusal to accept that as the last word on the subject." Fricke summed up the review by calling it "a harsh reminder that everything still comes with a price."

AllMusic reviewer Matthew Greenwald offered strong praise for the second track, "Crime in the City," calling it "undoubtedly the centerpiece of the album," "cinematic in scope" and "one of Neil Young's most accomplished works".
The album is ranked number 996 in All-Time Top 1000 Albums (3rd. edition, 2000).

Track listing

Personnel
 Neil Young – vocals; acoustic guitar; electric guitar; harmonica; piano on 9
 Chad Cromwell – drums
 Rick "The Bass Player" Rosas – bass
 Frank "Poncho" Sampedro – guitar on 2, 5 (as "Poncho Villa"), 9, 12; keyboards on 5, 7; mandolin on 11; vocals on 12
 Ben Keith – alto saxophone on 2, 7; pedal steel guitar on 2, 6, 11; keyboards on 10, 12; vocals on 11

Additional personnel

 Linda Ronstadt – vocals on 4, 6
 Tony Marsico – bass on 10
 Steve Lawrence – tenor saxophone on 2, 7
 Larry Cragg – baritone saxophone on 2, 7
 Claude Cailliet – trombone on 2, 7
 John Fumo – trumpet on 2, 7
 Tom Bray – trumpet on 2, 7

Production

 Neil Young – producer, mixing engineer
 Niko Bolas – producer, recording engineer except on tracks 1 4, mixing engineer except on tracks 1 4
 Tim Mulligan – digital engineer, recording engineer on 4
 Harry Sitam – senior technical engineer
 Dave Collins – digital editor
 Doug Sax – digital mastering engineer
 Dave Hewitt – recording engineer on 1, mixing engineer on 1

Charts
Weekly charts

Singles

Certifications

References

Neil Young albums
1989 albums
Reprise Records albums
Albums produced by Niko Bolas
Albums produced by Neil Young

Freedom (Neil Young album)


L'Alvarium est une organisation identitaire française active à Angers depuis 2017.

Fondée par Jean-Eudes Gannat, elle se fait connaître en occupant un immeuble en 2018 et par plusieurs faits divers de violences et d'agressions racistes. Accusée d'incitation à la haine raciale et d'implication dans des faits de violences, elle est dissoute en application de la loi du  par le Gouvernement en 2021 mais poursuit ses activités.

Histoire

Fondation
L'Alvarium est fondé en 2017 par Jean-Eudes Gannat, ancien membre du Front national pour lequel il a été par deux fois candidat en 2014 et 2015. Il est le fils de Pascal Gannat, ex-conseiller régional et ancien directeur de cabinet de Jean-Marie Le Pen. Ancien proche du GUD et membre de l'ONG d'extrême droite SOS Chrétiens d'Orient, Jean-Eudes Gannat fut le responsable Nord-Ouest de la société Riwal de Frédéric Chatillon. En 2020, il affirme avoir conservé  du Front national, mais reproche au parti son . Après la fondation de L'Alvarium, il est candidat sans étiquette à l'élection législative partielle de 2020 dans la troisième circonscription de Maine-et-Loire et aux élections départementales de 2021 à Segré.

L'organisation est déclarée en  sous le nom « Nouveaux sarments Anjou populaire ». Le nom « L'Alvarium » est d'abord attribué à un café associatif, ouvert en  avenue Pasteur. Son ouverture provoque plusieurs manifestations antifascistes, des rixes et il est plusieurs fois pris pour cible. Après avoir causé d'importantes nuisances aux riverains, il ferme dès le mois de décembre de la même année, sous la pression des pouvoirs publics et des associations antifascistes locales, mais L'Alvarium ouvre un nouveau local peu après au 31, rue du Cornet.

En 2021, L'Alvarium revendique , alors que la mairie n'en compte qu'une .

Actions

L'organisation se présente comme . Elle revendique des actions de maraudes à destination des SDF qui sont d'origine française.

En 2020, L'Alvarium revendique l'occupation d'un immeuble vacant depuis 2018 pour y loger des personnes sans domicile fixe, reprenant un mode opératoire déjà effectué par le Bastion social en 2017. Le passage d'un huissier en  révèle l'occupation et L'Alvarium revendique l'acte en déployant des banderoles  et . L'action bénéficie du soutien de représentants d'autres organisations d'extrême droite locales : Lyon populaire, Auctorum, Des tours et des lys, Adelphos et Hélix. Le squat est finalement fermé à la fin du mois.

À Angers, le groupuscule est connu pour des faits divers de violences et d'agressions racistes qui lui ont valu plusieurs condamnations en justice. Ainsi, en 2019, François-Aubert Gannat, frère du fondateur, est condamné pour des violences sur un policier et provocation à la haine raciale. Il est de nouveau condamné, avec deux autres membres de l'Alvarium, pour avoir roué de coups cinq militants qui avaient collé un sticker sur leur local en 2021. La même année, d'autres militants sont condamnés pour violences en réunion et vol de drapeaux.

Dissolution

Sept mois après avoir acté la dissolution de l'organisation d'extrême droite Génération identitaire, le conseil des ministres du gouvernement Jean Castex, sur proposition du ministre de l'Intérieur Gérald Darmanin, dissout le  L'Alvarium le . Selon le décret de dissolution, il est reproché à l'organisation une implication  et de propager ,  et . Il est soutenu dans son action par le maire d'Angers, Christophe Béchu.

L'Alvarium reçoit le soutien de militants royalistes de l'Action française, d'ancien membres de Génération identitaire, des Nationalistes d'Yvan Benedetti, ainsi que de l'ancien président du Front national de la jeunesse Julien Rochedy.

Après la dissolution
Malgré sa dissolution, L'Alvarium poursuit ses activités en 2022, notamment par une conférence de Thaïs d'Escufon (ex-porte-parole de GI) au local rue Cornet le  ou par des rixes lors du -Mai et par un hommage à Jeanne d'Arc le . La conférence, comme l'hommage, sont officiellement organisés par le Rassemblement des étudiants de droite (RED), organisation étudiante qui n'était avant la dissolution de L'Alvarium active essentiellement par des actions coup de poing et dont l'activité s'est intensifiée.

En octobre 2023, tandis que L'Alvarium y continuait ses activités, le propriétaire du local de l'organisation décide de le mettre en vente.

Idéologie et relations avec d'autres groupes

Organisation identitaire, L'Alvarium se réclame d'un nationalisme catholique. Jean-Yves Camus, politologue spécialiste de l'extrême droite, le décrit comme étant . StreetPress décrit L'Alvarium comme national-révolutionnaire et Libération comme néofasciste.

L'Alvarium est proche du Bastion social, une organisation néo-fasciste héritière du GUD issue de la même mouvance. Après la dissolution du Bastion social en 2019, les militants angevins poursuivent leurs relations avec des groupes locaux qui en sont issus, comme Audace Lyon et Vent d'Est. Ils participent notamment à l'appel de la manifestation annuelle en l'hommage de Sébastien Deyzieu, organisée par le Bastion social. Jean-Eudes Gannat revendique le  ou la  de Génération identitaire (avec qui une table ronde a été organisée en 2020) et de membres de l'Action française ou du Rassemblement national. Avant sa dissolution, L'Alvarium est également approché par un proche de Philippe Milliau (président de TV Libertés) dans le cadre de la campagne d'Éric Zemmour à l'élection présidentielle de 2022, sans que cela n'aboutisse.

Notes et références

Annexes

Articles connexes
 Mouvance identitaire
 Génération identitaire

Liens externes

Angers
Mouvance identitaire en France
Organisme fondé en 2017
Ancienne association ou organisme politique d'extrême droite en France
Organisation dissoute en France selon la loi du 10 janvier 1936
Organisme disparu en 2021
Violence politique en France

L'Alvarium


Attis,  (Yunanca: Ἄττις, also Ἄτυς, Ἄττυς, Ἄττης) Eski Anadolu (Frigya) tanrılarından biri. Efsanelere göre Adonis kadar güzeldi, bu yüzden Anadolu tanrılarının anası Kybele ona gönül verdi. Ondan hayat boyu kendisine sadık kalma sözü almıştı ancak Attis Sakarya Nehri'nin perisi Sagaratis'e gönül verdi. Kybele buna çok öfkelendi ve peri kızının hayatının bağlı olduğu ağacı keserek Attis'i de delirtti.

Attis-Kybele, İsis ve Dionysos Sabazios'a bağlı ve sonradan Yunanistan ile Roma İmparatorluğu'nu istila eden Doğu Gizemleri, Bacchanalia, Eleusis törenleri ile birçok ortak özellikler taşımaktadırlar. Ancak, Doğu Gizemlerinde katılanların kendinden geçişleri (vecd) çok daha şiddetli, üstelik tanrılarla bütünleşme arzusunun yarattığı psikolojik gerilim çok daha tehlikeliydi. Örneğin, baş rahibin tanrının adını taşıdığı Attis tapımında inisiyeler kendilerini hadım ederlerdi. Tanrı ile bütünleşme, ya boğa kurbanı (Taurobolium) sırasında kana bulanma ya da sunak üzerinde kendi kollarının bıçakla kesilmesi ile sağlanırdı. Ayrıca bir kutsal evlenme töreni düzenlenir ve inisiye büyük tanrıça ile cinsel ilişki kurardı. Frigya gizemlerinde, dramatik olarak ifade edilen, Attis'in ölümü ve dirilmesi çok belirgindi. Bu törenlerin gerçekleştirildiği "Hilaria" (sevinç ve neşe) bayramı ilkbahara rastlardı.

Kaynakça

Frigya tanrıları
Kültler

Attis


Polgár or Polgar may refer to:

 Polgár, Hungary, a city in Hungary

Persons with the surname
 Alfred Polgar (1873–1955), Austrian journalist
 Franz Polgar (1900–1979), Hungarian psychologist, hypnotist, lecturer and entertainer
 Gyula Polgár (1912–1992), Hungarian footballer
 François Polgár (born 1946), French choir conductor
 Jorge Polgar (born 1967), Uruguayan economist
 László Polgár (born 1946), Jewish Hungarian chess teacher, father of the Polgár sisters
 The Polgár sisters, three chess players who are siblings:
 Susan Polgar (born 1969), Hungarian-American chess player
 Sofia Polgar (born 1974), Hungarian-Israeli chess player
 Judit Polgár (born 1976), Hungarian chess player
 László Polgár (bass) (1947–2010), Hungarian operatic bass singer
 Peter Polgár (born 1976), Slovak footballer
 Thomas Polgar (1922–2014), Hungarian-American CIA officer

Hungarian words and phrases
Hungarian-language surnames
Surnames of Jewish origin

Polgár


Annika van der Meer, née le  à La Haye, est une rameuse handisport d'aviron néerlandaise anciennement coureuse cycliste. Elle possède deux titres mondiaux (2017, 2018) et une médaille d'argent paralympique (2020) en deux de couple mixte.

Carrière
En 2007, elle se retrouve avec la jambe droite paralysée lors d'un accident de ski mais continue le sport jusqu'à un second accident en 2013, où elle s'abîme le genou de sa jambe valide et doit arrêter le ski définitivement. En plus du sport, elle est diplômée en médecine en décembre 2020.

Pour ses premiers Jeux en 2021, Annika van der Meer remporte avec son compatriote Corné de Koning la médaille d'argent en deux de couple mixte PR2. Quelques semaines auparavant, la paire avait raflé l'argent aux Championnats d'Europe.

Références

Liens externes

Rameuse handisport néerlandaise (aviron)
Médaillée d'argent paralympique néerlandaise
Rameuse (aviron) aux Jeux paralympiques d'été de 2020
Naissance en décembre 1985
Naissance à La Haye

Annika van der Meer


Las series Radeon HD 2000 y Radeon HD 3000 son una gama de procesadores gráficos comercializados por AMD bajo la marca ATI en mayo de 2007 y durante el año 2008. Tenían compatibilidad con DirectX 10 (Radeon HD 2000), DirectX 10.1 (Radeon HD 3000) y OpenGL 3.2 (ambas). Fueron las primeras tarjetas gráficas de AMD/ATI en hacer uso de una arquitectura de shading unificada y la segunda generación de su arquitectura unificada, siendo la primera la GPU Xenos de Xbox 360 con 240 stream processors.

Arquitectura
Ambas series de la entonces llamada ATI se basan en la arquitectura R600 de dicha compañía.

En dicha arquitectura se tenía en primera instancia el procesador de comandos, encargado de la búsqueda y decodificación de instrucciones además de administrar el estado del procesador incluyendo los registros del sistema. También residía el sistema de interrupciones, la lógica de DMA y múltiples colas de instrucciones y varios puertos de registros, tanto los de gráficos como los de sistema.

Del procesador de comandos se pasaba a la etapa de configuración del motor. Relacionado con la vertiente puramente gráfica de la GPU, ahí se procesaban los datos estructurales de píxels, primitivas y vértices (direcciones de memoria, información topológica, teselación, chequeos previos de la coordenada Z).

Tras la etapa de configuración del motor se procedía al gestor del procesador. Es la unidad de control del núcleo de shaders. La carga de trabajo se distribuye en varios hilos o wavefronts agrupando cada uno 64 operaciones, con 100 hilos en vuelo para esconder latencias. El núcleo de shaders está formado por varias unidades de procesamiento vectorial. En el caso del R600 eran 4 grupos SIMD cada uno con 16 procesadores vectoriales (SPUs, Stream Processing Units). Estos 64 procesadores vectoriales compartían los registros de propósito general y la caché de texturas.

Por cada SPU hay 6 ALUs, 4 dedicadas a instrucciones aritméticas, 1 que además de instrucciones aritmétmicas también permite realizar funciones trigonométricas y una sexta ALU para las instrucciones de salto. ATI llamó a cada ALU Stream Processor, de ahí que el R600 totalmente dotado tuviera 320 stream processors (4 unidades SIMD X 16 SPUs X 5 ALUs aritméticas por SPU hacen 320 ALUs o Stream processors). El R600 era entonces una arquitectura VLIW5. Actualmente las Radeon HD 6000 son VLIW4.

Radeon HD 3000
Las HD 3000 están basadas exactamente en el mismo diseño R600. Las diferencias residen en pequeñas optimizaciones y un nuevo proceso de fabricación que han permitido reducir el número de transistores y aumentar la frecuencia de reloj. También se ha añadido el hardware necesario para dar soporte a DirectX 10.1.

Gama de tarjetas gráficas

Serie Radeon HD 2000
 Los procesos de fabricación varían entre los 80 y los 65 nm. La gama HD 2900 está fabricada en 80 nm mientras que el resto lo está en 65 nm.
 Todas soportan DirectX 10 y OpenGL 3.2.

 1 Shaders unificados (Vertex shader/Geometry shader/Pixel shader) : Unidad de mapeo de textura : Unidad de salida de render
 2 La velocidad de memoria mostrada es la velocidad efectiva. En el caso particular de memorias GDDR5, su velocidad efectiva es el cuádruple de la nominal, mientras que en otras memorias DDR es el doble.
 3 El TDP (Thermal Design Power) mostrado es el valor de referencia de AMD. Diseños de tarjeta gráfica distintos al de referencia utilizados por los fabricantes pueden significar variaciones en el TDP de los modelos de tarjeta que los empleen.

Serie Radeon HD 3000
 Todas están fabricadas con litografía de 55 nm.
 Todas soportan DirectX 10.1 y OpenGL 3.2.

 1 Shaders unificados (Vertex shader/Geometry shader/Pixel shader) : Unidad de mapeo de textura : Unidad de salida de render
 2 La velocidad de memoria mostrada es la velocidad efectiva. En el caso particular de memorias GDDR5, su velocidad efectiva es el cuádruple de la nominal, mientras que en otras memorias DDR es el doble.
 3 El TDP (Thermal Design Power) mostrado es el valor de referencia de AMD. Diseños de tarjeta gráfica distintos al de referencia utilizados por los fabricantes pueden significar variaciones en el TDP de los modelos de tarjeta que los empleen.

Véase también
 Radeon HD
 Serie Radeon HD 4000
 Serie Radeon HD 5000
 Serie Radeon HD 6000
 Serie Radeon HD 7000
 Serie Radeon HD 8000

Referencias

Advanced Micro Devices
ATI Technologies
Tarjetas gráficas

Serie Radeon HD 2000 y 3000


Sasperanto (sammensat af SAS og esperanto) er en humoristisk ordkonstruktion opfundet af ansatte i det skandinaviske luftfartsselskab SAS i 1950'erne på grund af at man i selskabet ofte brugte et (uofficielt) talesprog, som var muliggjort af at de skandinaviske sprog er meget lig hinanden. Sasperanto er en blanding af norsk, svensk, dansk og engelsk, fordi SAS er en sammenslutning af det norske DNL, det danske DDL, det svenske ABA, og fordi koncernsproget er engelsk.

Blandingssprog

Sasperanto


Vigenere tablosu, kriptografide Vigenere şifrelemesi için kullanılan ve Fransız şifrecisi Blaise de Vigenere'e atfedilen bir tablodur. Bu tablo şifre için gerekli her harfin hangi harf ile değiştireleceğini gösterir. Harflerin değiştirilmesi için birçok alfabe kullanılır. Her harfin kelimedeki sırasına göre şifreleme alfabesi de değişir. Böylece aynı harflerin aynı harfler ile değiştirilmesi engellenmiş olur. Çoklu alfabe kullanma yöntemiyle şifrenin frekans analizi ile çözülmesi zorlaştırılmış olur.

Geliştirilmiş dizinli Sezar şifrelemesi

Vigenere şifrelemesi Sezar şifrelemesinin geliştirlmiş halidir. Sezar şifrelemesi için harflerin değiştirilmesi için bir tek alfabe kullanılırken Vigenere şifrelemesinde birden fazla alfabe kullanılır. Şifreleme için bir anahtar seçilir ve bu anahtara göre her harf kelime içindeki sırasına göre değişik bir alfabeyle şifrelenir. Anahtarla bu şifreleme Sezar şifrelemesine göre aynı kolaylıkla yine deşifre edilebilinir.

Vigenère şifrelemesi

Vigenère şifrelemesi uzun zaman güvenilir bir şifreleme algoritması olarak biliniyordu ("Le Chiffre indéchiffrable", Türkçede: "deşifre edilemeyen şifre"). Seçilen bir anahtar kelime şifreleme için kullanılacak alfabe sayısını belirliyor. Her kullanılan alfabede harfler Sezar şifrelemesinde olduğu gibi alfabedeki sırasından bir sonraki harf ile değiştiriliyor.

İlk olarak 1854 yılında İngiliz matematikçi Charles Babbage Vigenère şifrelemesi çözmeyi başardı. Bu buluşunu hiç açıklamaması üzerine Prus albay Friedrich Kasiski 1863 yılında kendi deşifreleme yöntemini açıklayarak bu yöntemin tanınmasını sağladı.

Örnek
Vigenère şifrelemesi için bir anahtar kelime seçilir. Bu anahtar kelime "ANAHTAR" olabilir, şifrelenecek yazı ise "vikipedi". Şifreleme için Latin alfabesi kullanabilinir. Anahtar kelime "ANAHTAR" yedi harften oluştuğu için şifrelemeye de yedi alfabe kullanılır. İlk şifreleme, anahtar harfi "A" olan bir Sezar şifrelemesi olarak başlar. "A" alfabenin birinci harfi olduğu için şifrelenecek yazının ilk harfi olan "v"'yi alfabede bir atlamayla değiştirir. Şifrelemede "v" harfinden saymaya başlanır. Bu şekilde "v" birinci harf olduğu için aynı kalır. Anahtar kelimenin ikinci harfi "N". "N" Latin alfabesinin 14. harfi. Böylece şifrelenecek yazının ikinci harfi "i" öndört atlamayla değiştirilir. "i" harf birnci harf olarak sayılmak üzere ondördüncü harf seçilir. Birinci harf "i" olduğundan ondördüncü harfte "v" olur. Böylece "i" harfi "v" olarak değiştirilir. Şifrelenecek yazının üçüncü harfi "k" da aynı şekilde değiştirilir. Anahtar kelimenin üçüncü harfi "A" olduğu için "k" olduğu gibi kalır. Anahtar kelimenin dördüncü harfi "H" Latin alfabesinin 8. harfi. Şifrelenecek yazının dördüncü harfi "i" yine ilk harf olarak 8. harf belirlenir. Latin alfabesinde ilk harf "i" olarak sayıldığında 8. harf "p" olur. İlk dört harfin şifrelemesi böylece "vvkp" olur. Aynı yöntemle bütün kelime şifrelenir.

 Şifrelenecek yazı:       vikipedi
 Anahtar kelime   :       ANAHTAR
 Şifrelenmiş yazı :       vvkpieui

Vigenere tablosu harflerin Latin alfabesindeki sıralarına göre rakamları gösterir. Böylece tabloya bakılarak rakamlar ve rakamlara ait olan harfler tespit edilebilinir. Bu şekilde şifrelemek kolaylaşır.

Kasiski Saldırısı
Vigenere şifresi ile şifrelenmiş metinlere saldırı için kullanılan bir tekniktir. Şifreleme sırasında kullanılmış olan anahtar boyutunu tespit etmeye çalışır. Vigenere yöntemi ile şifrelenmiş metinlerde tekrar eden örüntüler içermektedirler. Şifreli metinde tekrar eden bu örüntüler arasındaki uzaklık anahtar boyutu ile ilişkilidir. Tekrar eden örüntülerin uzaklığının en büyük ortak böleni anahtar boyutu ile ilgili bir ipucu verecektir.

Kaynakça

Dış bağlantılar
 Türkçe Vigenere Şifreleme (Python)

Kriptoloji

Vigenere tablosu


Los telémidos (Telemidae) son  una familia de arañas araneomorfas, que forman parte de la superfamilia de los leptonetoideos (leptonetoidea), junto con los leptonétidos y Oquirocerátidos.

Sistemática
Con la información recogida hasta el 31 de diciembre de 2011, Telemidae cuenta con 7 géneros y 70 especies:
Apneumonella Fage, 1921
Cangoderces Harington, 1951
Jocquella Baert, 1980
Seychellia Saaristo, 1978
Telema Simon, 1882
Telemofila Wunderlich, 1995
Usofila  Keyserling, 1891

Referencias
 Platnick, N.I. (1986). "On the tibial and patellar glands, relationships, and Américan genera of the spider family Leptonetidae (Arachnida, Araneae)". Américan Museum novitates, 2855. PDF Abstract  (con información de los telémidos).
 Platnick, Norman I. (2012): The world spider catalog, version 12.5. American Museum of Natural History.
 Texas A&M University, Department of Entomology - Synopsis of the described Araneae of the World.

Véase también
 Anexo:Especies de Telemidae
 Anexo:Taxonomía de las arañas

Enlaces externos

Telemidae

Telemidae


Cerro Corá es un municipio en el estado de Rio Grande do Norte (Brasil), localizado en la microrregión de la Sierra de Santana. De acuerdo con el IBGE (Instituto Brasileño de Geografía y Estadística), en el año 2010 su población era de 10 916 habitantes. Área territorial de 394 km².

Referencias

Enlaces externos

 Página de la prefectura

Localidades de Río Grande del Norte

Cerro Corá (Río Grande del Norte)


Campionatul European de Volei Feminin din 1967 a fost a șaptea ediție a Campionatului European de Volei organizată de CEV. A fost găzduită de Turcia din 18 octombrie până în 25 octombrie 1967. Orașele gazdă au fost Ankara, Istanbul, Adana și Izmir. La turneu au participat 15 echipe naționale și victoria finală a revenit Uniunii Sovietice pentru a șasea oară, a treia oară consecutiv.

Echipe

Componența grupelor

Grupa A

Grupa B

Grupa C

Grupa D

Faza preliminară

Grupa A
</center>

Grupa B
</center>

Grupa C
</center>

Grupa D
</center>

Faza finală

Grupa pentru locurile 9-15

</center>

Grupa pentru locurile 1-8

</center>

Clasamentul final

Referințe
 Rezultate site personal

Campionatul European de Volei
Competiții sportive internaționale găzduite de Turcia
1967 în sport


Dakota Goyo (* 22. August 1999 in Toronto, Ontario als Dakota Avery Goyo) ist ein kanadischer Schauspieler.

Leben und Karriere
Dakota Goyo wurde als jüngster von drei Söhnen von Debra, früheres Model und Sängerin, und David Goyo in Toronto geboren. Bereits im Alter von fünf Jahren bekam er seine erste Rolle in der Pilotfolge zur CBS-Serie Ultra, aus der letztendlich aber keine Serie entstand. Ebenfalls 2005 sprach er eine kurze Gastrolle in der Zeichentrickserie Jojos Zirkus. 2007 war er neben Samuel L. Jackson als Filmsohn von Josh Hartnett und Kathryn Morris im Film The Champ in der Rolle des Teddy Kernan zu sehen. Diese Rolle brachte ihm neben guten Kritiken auch eine Nominierung bei den Young Artist Awards 2008 in der Kategorie Bester Nebendarsteller in einem Spielfilm – zehn Jahre oder jünger ein. Im gleichen Jahr spielte er im Filmdrama Emotional Arithmetic die Rolle des Timmy Winters, den Urenkel von Susan Sarandons Figur. Es folgten 2009 die Rolle des Jack Carter im Film Defendor, ein Gastauftritt in der Mysteryserie The Listener – Hellhörig, sowie die Nebenrolle als Alwyn Jones in der Krimiserie Murdoch Mysteries. Im selben Jahr wurde er auch für die ABC-Serie Solving Charlie in der Titelrolle gecastet, wovon aber nur eine Pilotfolge produziert wurde. 2010 sprach er für die Zeichentrickserie Erdferkel Arthur und seine Freunde die Rolle des Timmy Tibble und absolvierte einen Gastauftritt in der kurzlebigen Fernsehserie Happy Town. Im Alter von zehn Jahren wurde er für die Rolle des Max Kenton in DreamWorks' Science-Fiction-Film Real Steel ausgewählt. Für diese Rolle gewann Goyo bei den Young Artist Awards 2012 den Award als Bester Hauptdarsteller in einem Spielfilm und wurde bei den Saturn Awards 2012 als Bester Nachwuchsschauspieler nominiert. Nach Beenden der Dreharbeiten zu Real Steel stand er als junger Thor im gleichnamigen Film, der auf der ebenfalls gleichnamigen Comicfigur des Verlages Marvel basiert, vor der Kamera. 2011 übernahm er eine Rolle in R. L. Stines Mystery-Horror-Fernsehserie R. L. Stine's The Haunting Hour. Ende 2012 übernahm Goyo die Synchronrolle des Jamie Bennett im computeranimierten 3D-Actionfilm Die Hüter des Lichts.

Filmografie (Auswahl)
 2005: Jojos Zirkus (Jojo's Circus, Fernsehserie, eine Episode, Stimme)
 2007: The Champ (Resurrecting the Champ)
 2007: Emotional Arithmetic
 2009: Defendor
 2009: The Listener – Hellhörig (The Listener, Fernsehserie, Episode 1x01)
 2009: Murdoch Mysteries (Fernsehserie, 3 Episoden)
 2009: My Neighbor's Secret
 2010: Happy Town (Fernsehserie, Episode 1x06)
 2010: Erdferkel Arthur und seine Freunde (Arthur, Fernsehserie, 4 Episoden, Stimme)
 2011: Real Steel
 2011: Thor
 2011: R. L. Stine's The Haunting Hour (Fernsehserie, Episode 2x04)
 2012: Die Hüter des Lichts (Rise of the Guardians, Stimme von Jamie Bennett)
 2013: Dark Skies – Sie sind unter uns (Dark Skies)
 2014: Noah
 2014: The Journey Home

Auszeichnungen und Nominierungen

Weblinks

Einzelnachweise

Filmschauspieler
Kinderdarsteller
Kanadier
Geboren 1999
Mann

Dakota Goyo


Jeong Mong-ju (* 22. November 1337 in Yeongcheon; † 4. April 1392 in Kaesŏng) war ein koreanischer Politiker der Goryeo-Dynastie, Diplomat, neokonfuzianischer Philosoph, Dichter und Schriftsteller. Sein ursprünglicher Name war Mongran (, )·Mongryong (, ), sein Schriftstellername war Po Eun (, ).

Leben
Jeong Mong-ju entstammte dem Jeong-Klan aus der Stadt Yeongcheon in der Provinz Gyeongsang. Er studierte an der damals durch den Gelehrten Yi Saek (1328–1396) renommiertesten akademischen Einrichtung Sungkyunkwan, ebenso wie sein Freund und späterer politischer Rivale Jeong Do-jeon, und lehrte dort selbst konfuzianische Schriften. Durch seine als hervorragend eingeschätzten Übersetzungen der Werke des Konfuzius wurde er ein bedeutender Vertreter des Neokonfuzianismus, im ausgehenden Goryeo-Reich und beginnendem Joseon-Reich am Ende des 14. Jahrhunderts.

Politisches Wirken
Nach Ablegung des Examens für den Staatsdienst 1362 war er zunächst mit König Gongmin (공민왕, 恭愍王, 1351–1374) des Goryeo-Reiches verbunden. Als Diplomat konsultierte er sechsmal den Hof der Ming-Dynastie in China. Durch seine Kenntnisse und seinen anerkannten Gerechtigkeitssinn gelang es ihm, Spannungen zwischen dieser und der Yuan-Dynastie zu entschärfen. 1377 gelangte er als Diplomat an den japanischen Hof, wo er ein Bündnis gegen die Wokou, den Piraten im Chinesischen Meer, die die politische Lage in Korea destabilisierten, erreichte, sowie die Freilassung Hunderter Gefangener des Goryeo-Reiches.

Das Ende der Goryeo-Dynastie wurde durch die Teilung des Hofes bewirkt: auf der einen Seite stand der General Choi Yeong, der die Auseinandersetzung mit dem Ming-Reich suchte, auf der anderen Seite General Yi (auch: U), der die diplomatische Lösung mit China suchte, dann den Königsthron an sich reißen und eine neue Dynastie gründen wollte. Hier nahm Jeong Mong-ju Partei für die ältere Dynastie und wurde wegen seiner Ablehnung, neuen Machthabern zu folgen, 1392 von Männern des Yi Bang-won (später König Taejong), fünfter Sohn des Yi Seonggye, dem Gründer der Joseon-Dynastie und Taejo genannt, auf der Sonyukkyo-Brücke in Kaesong ermordet.

Das "standhafte Herz"
Dem koreanischen Volk ist Jeong Mong-ju durch seine Loyalität gegenüber seinem Herrscherhaus in Erinnerung geblieben. Jeongs Gedicht, das seine Haltung in Erwiderung auf Yi Bang-won ausdrückt, ist in der Form eines dreizeiligen Sijo verfasst und steht in der Tradition der Todesgedichte.

Damshim-ga:
   ()

   ()

.   ()

Mein Körper mag hundert Tode sterben.
Und meine weißen Knochen zu Staub und meine Seele zu Nichts werden.
Doch das standhafte Herz, das für die Meinen ich hege, wird niemals sterben.

Schriften
 Poeunjip (, )
 Koreanische Ausgabe in chinesischer Schrift:
 .
 , 1999.
 , 1975.
 Poeunsigo (, )
 . Nachdruck einer Ausgabe von 1608. (Unter Mitwirkung der Asami Collection und Korean Rare Book Collection der University of California, Berkeley).

Literatur
 Kang Jae-eun, Suzanne Lee: The land of scholars: two thousand years of Korean Confucianism. Paramus. Homa & Sekey Books, New York 2006, ISBN 1-931907-30-7.
 Lee, Gil-sang: Exploring Korean history through world heritage. Academy of Korean Studies, Seoul 2006, ISBN 89-7105-551-0.
 Keith L. Pratt: Everlasting flower: a history of Korea. Reaktion Books, London 2006, ISBN 1-86189-273-X.
 Yi, Ki-baek: A new history of Korea. Harvard University Press, Cambridge, Mass. 1984, ISBN 0-674-61575-1.

Siehe auch
 Liste koreanischer Philosophen

Weblinks
 Jeong Mong-ju: Symbol unerschütterlicher Loyalität. In: KBS World, 9. Juni 2011, Kurzbiografie in Deutsch, abgerufen am 18. Mai 2012.

Einzelnachweise

Konfuzianischer Philosoph
Politiker (Korea)
Autor
Person (Seoul)
Geboren 1337
Gestorben 1392
Mann
Koreaner

Jeong Mong-ju


An Habenaria vaginata in uska species han Liliopsida nga ginhulagway ni Achille Richard. An Habenaria vaginata in nahilalakip ha genus nga Habenaria, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Habenaria

Habenaria vaginata


القياس الضوئي الفلكي أو المضوائية، ومعناها بالإنجليزية Photometry –وهي مشتقة من كلمة photo والتي تعني (ضوء) وكلمة metry والتي تعني (قياس)، وكلاهما كلمتان من اللغة اليونانية. وهي تقنية تستخدم في علم الفلك تهتم بقياس دفق أو شدة الضوء الذي يشع من الجرم الفلكي. ويُقاس الضوء عن طريق التلسكوب (المقراب) باستخدام فوتوميتر (مضواء)، والذي يُصنع عادة باستخدام أدوات إلكترونية كـ فوتوميتر CCD أو فوتوميتر الكتروضوئي، والذي يحول الضوء إلى تيار الكتروني بوساطة المفعول الكهرضوئي. وعندما يُعيّر الفوتوميتر لقياس ضوء النجوم المعيارية (أو أي منابع ضوئية أخرى) معروفة الكثافة واللون، بإمكاننا قياس شدة سطوع الجسم السماوي أو قدره الظاهري (مقدار لمعان الجرم).

تعتمد الطريقة المستخدمة في إجراء القياس على نظام طول الموجة المدروسة. ففي الحالة الأساسية، يتم إجراء القياس عن طريق تجميع الضوء وإمراره خلال مرشحات (فلاتر) النطاق العالي البصرية الخاصة بالقياس الضوئي الفلكي، ثم التقاط وتسجيل الطاقة الضوئية باستخدام أداة حساسة ضوئياً. تُصنع المجموعة القياسية من النطاق العالي (والتي تُدعى نظام القياس الضوئي الفلكي) كي تسمح بإجراء مقارنة دقيقية للمشاهدات. وهناك تقنية أكثر تطوراً تدعى Spectrophometry تُقاس بوساطة مطياف بصري، وترصد كلاً من كمية الإشعاع وتوزع الطيف بشكل مفصل.

يُستخدم القياس الضوئي أيضاً في رصد النجوم المتغيرة  باستخدام عددٍ من التقنيات كالقياس الضوئي التفاضلي، والذي يقيس شدة سطوع الهدف المراد دراسته والنحوم المجاورة له في وقت واحد ، أو القياس الضوئي النسبي الذي يقارن بين شدة سطوع الهدف مع النحوم الأخرى ذات القدر الظاهري المعروف. ويسمى القياس الضوئي النسبي باستخدام عددٍ من مرشحات النطاق العالي بـ "القياس الضوئي المطلق".

نحصل على المنحنى الضوئي عن طريق المخطط البياني للقدر الظاهري والزمن، والمنحنى الضوئي هو ما يمنحنا معلومات وافية عن العملية الفيزيائية المسببة للتغيرات في السطوع. وبإمكان أجهزة القياس فائقة الدقة قياس ضوء النجوم عند قدر ظاهري مقداره 0.001.

وبالإمكان استخدام تقنية القياس الضوئي السطحي، خاصة عند قياس ضوء الأجسام المتمددة (المتوسعة) كالكواكب والمذنبات والسدم والمجرات، حيث تقيس هذه التقنية القدر الظاهري على أساس قدر ظاهري واحد لكل مساحة زاوية واحدة. وبالتالي كل ما علينا معرفته هو منطقة الهدف المراد إجراء القياس عليه، ومتوسط كثافة الضوء عبر الجسم الفلكي، وعندها سنستطيع تحديد سطوع السطح على أساس قدر ظاهري لكل مساحة زاوية.

طرق القياس
يستند القياس الضوئي الفلكي على استخدام مرشحات النطاق العالي القياسية المتخصصة لقياس أطوال موجات الأشعة فوق البنفسجية والطيف المرئي والأشعة تحت الحمراء للطيف الكهرومغناطيسي. وتدعى أي مجموعة من المرشحات ذات خصائص معروفة لإمرار الضوء بـ نظام قياس الضوء، وتسمح بذلك بإعطائنا خصائص معينة ومحددة عن النجوم والأجرام الفلكية الأخرى. وتُستخدم عادة مجموعة من الأنظمة المهمة، كنظام القياس الضوئي UBV  (أو نظام القياس الضوئي UBVRI الموسَّع ) أو نظام JHK للأشعة تحت الحمراء القريبة  أو نظام Strömgren للقياس الضوئي.

وتاريخياً، تم إجراء القياس الضوئي للأشعة تحت الحمراء القريبة من خلال الأشعة فوق البنفسجية ذات طول الموجة القصير عن طريق استخدام فوتوميتر كهرضوئي، وهي أداة تقيس كثافة الضوء لجسم ما بتوجيه الضوء المنبعث منه نحو خلية حساسة للضوء كالمضاعف الضوئي. واستبدلت هذه الأداة على نطاق واسع كي تحلّ محلها كاميرات CCD، والتي تستطيع تصوير عدد من الأجسام في آنٍ واحد، لكن استخدام الفوتوميتر الكهرضوئي لا زال ضرورياً في بعض المواقف [، تحديداً عندما يتطلب القياس دقة زمنية عالية.

التطبيقات
هناك العديد من التطبيقات في علم الفلك والتي تستخدم أنظمة القياس الضوئي الفلكي. وبالإمكان دمج القياس الضوئي مع قانون التربيع العكسي لتحديد ضياء (سطوع) جسم ما إذا استطعنا حساب بعده ومسافته، أو إذا استطعنا معرفة مسافة سطوعه. أما الخصائص الفيزيائية الأخرى للأجسام، كدرجة حرارتها أو تركيبها الكيميائي، فيمكن تحديدها عن طريق قياس الطيف الضوئي ضيق أو واسع النطاق.

ويُستخدم القياس الضوئي الفلكي في دراسة تغيّرات الضوء للأجرام، كالنجم المتغير أو الكواكب الصغرى أو النوى المجرية النشطة أو المستعر الأعظم (سوبرنوفا) ، أو للكشف عن الكواكب خارج المجموعة الشمسية. وبالإمكان استخدام القياسات المستخلصة أيضاً، على سبيل المثال لا الحصر، في تحديد الدور المداري ونصف قطر أجزاءٍ من نظام النجوم الثنائية الكسفية، أو لتحديد فترة التناوب الخاصة بنجم أو كوكب صغيرين، أو لحساب الطاقة الكلية الخارجة عن السوبرنوفا.

برامج الحاسوب
هناك عدد من برامج الحاسوب (أو الـ Software) المتاحة للقياس الضوئي ذي الفتحة الصنعية أو القياس الضوئي الذي يعتمد على إدخال دالة التوزيع النقطي.
من أكثر البرامج شيوعاً SExtractor  وAperture Photometry Tool ، وهما مثالان عن البرامج الشائعة للقياس الضوئي ذي الفتحة الصنعية. حيث يُجهّز الأول من أجل تخفيض البيانات الإحصائية المجرية هائلة الحجم، بينما يملك الثاني واجهة المستخدم الرسومية GUI والملائمة لدراسة الصور الفردية. وهناك برنامج آخر يدعى DAOPPHOT، والذي يُعد من أفضل برامج الحاسوب المخصصة للقياس الضوئي الذي يعتمد على دالة التوزع النقطي.

منظمات
هناك عدد من المنظمات والهيئات، سواء كانت احترافية أو هاوية، تقوم بجمع بيانات عن القياس الفلكي ونشر هذه البيانات كي تكون متاحة على الإنترنت. وهناك بعض المنظمات التي تقوم بجمع البيانات بشكل أساسي لجعلها مصدراً متاحاً للباحثين الآخرين (على سبيل المثال، منظمة AAVSO)، بينما تقوم منظمات أخرى بجمع البيانات ومشاركتها كي تستفيد منها في أبحاثها (كمركز CBA مثلاً). ومن هذه الهيئات والمؤسسات:
 الجمعية الأميركية لمراقبي النجم المتغير، والتي تدعى اختصاراً AAVSO.
 Astronomyonlin.org.
 مركز هواة علم الفلك CBA [.

المراجع

اقرأ أيضا
 طيف.
 قياس ضوئي.
 تأثير كهروضوئي.
 نسبة الكتلة إلى الضوء

إشعاع كهرومغناطيسي
تلوث ضوئي
علم الفلك الرصدي
فيزياء فلكية
قياس إشعاعي
نظام قياس ضوئي

قياس ضوئي فلكي


جامع القصبة جامع أمر ببنائه السلطان الحفصي أبو زكرياء الأول بين عامي 629 هـ/1292 م و 633 هـ/1296 م بمدينة تونس العتيقة، وكان يُسمى في العهد الحفصي باسم جامع الموحدين.

 جامع القصبة
 الاسم : جامع القصبة
 المكان : تونس، تونس
 تاريخ/حقبة الإنشاء : 629-633هـ/1231-1235م انتهاء أشغال بناء الصومعة 1282م
 مستلزمات الإنشاء : الحجارة والرخام والجص
 الديكور المعماري : الرخام المنقوش
 المرسل إليه / الوكيل : أبو زكريا يحيى الحفصي، مؤسس الدولة الحفصية
 مؤلف : علي ابن محمد بن القاسم

بُني جامع القصبة بأمر من مؤسس الدولة الحفصية بعد إعلانه الاستقلال عن الدولة الموحدية بمراكش، وذلك بداخل القصبة التي كانت تضم أيضا مقر الحكم والقصر. كانت البناية في الأصل عبارة عن مسجد صغير لحي، لتتحول إلى جامع تقام فيه صلاة الجمعة، في الوقت الذي كانت فيه هذه الوظيفة تقتصر على جامع الزيتونة. وانطلاقا من القرن 16م، إبان الفترة العثمانية، أصبحت الصلاة تقام فيه حسب المذهب الحنفي الذي هو مذهب الحكام الجدد لبلاد إفريقية.
تنقسم قاعة الصلاة العميقة إلى سبع بلاطات وتسع أساكيب، وهو شيء نادر في المساجد الإفريقية. يحتل رواقان يرتكزان على أعمدة ويطلان على صحنين، الجهات الشمالية والشرقية. ويغطي الجدران طلاءٌ جيري وألواحٌ حجرية وأخرى رخامية. وتحمل أعمدة ذات تيجان حفصية بواسطة أكتاف عقود، أقواسا مكسورة متجاوزة تعلوها أقبية متقاطعة. هذا في حين تغطي البنايات الخارجية سطوح ذات دعامات خشبية وألواح وقبة. ينتظم المحراب الملبس بألواح رخامية على شكل كوة تعلوها قبة ذات مقرنصات من الجص وتحدها أعمدة صغيرة ذات تيجان حفصية.

شهد المسجد عدة أعمال للإصلاح والتجديد كما تشهد على ذلك التذهيبات التي تغطى تيجان المحراب. وخلال نفس الفترة (سنة 992هـ/1584م) وضع منبر من الطراز العثماني ملبس بالرخام، مكان المنبر الخشبي الحفصي.

رغم تأثره بالعمارة الدينية الأجنبية، يتبع جامع القصبة طراز المساجد الإفريقية التي تتجلى من خلال قاعة الصلاة المعمدة والقبة ذات الحنيات الركنية الموجودة أمام المحراب. لكنه على الرغم من ذلك، يبقى أول مسجد بإفريقية يحمل مميزات العمارة الموحدية وخاصة بلاطه الأوسط المعادل لكل البلاطات. هذا التصميم نجده مجسدا في جامع حسان بالرباط (القرن 12م).

ويبقى العنصر المثير الانتباه هو الصومعة التي تتخذ من خلال مكوناتها الزخرفية شكل الصوامع الموحدية المغربية والأندلسية. لكن هذا الزخرف مصنوع على الحجارة وليس فوق الآجر كما هو الحال في النماذج الأصلية المغربية. تتمدد الأقواس المتعددة الفصوص المنجزة بقاعدة الصومعة إلى الأعلى بواسطة تشبيكات ذات لون أمغر تغطي واجهات الصومعة بسلسلة من المعينات. أما الجزء العلوي فينفتح بأقواس ثلاثية متجاوزة ومحاطة بإطار من التلبيس الخزفي. يتوج الصومعة منور ذو تصميم مربع تزينه كوة ذات قوس متجاوز بكل واجهة. ختاما، تشكل هذه الصومعة النموذج الأصلي الذي احتدي به في تونس انطلاقا من هذه الفترة كما يظهر ذلك على سبيل المثال في الجامع الكبير لتستور (القرن 17م).

مقالات ذات صلة
 قائمة مساجد تونس

مراجع

مبان دينية اكتملت في 1230
مساجد بنيت في القرن 13
مساجد مدينة تونس
مساجد مدينة تونس العتيقة
معالم أثرية مصنفة في ولاية تونس
مساجد اكتملت في 1230

جامع القصبة (تونس)


Râpa lui Albu este un monument al naturii de tip geologic sau paleontologic în raionul Ștefan Vodă, Republica Moldova. Este amplasat la periferia de sud a satului Cioburciu, în ravena de-a lungul drumului ce duce în sat (ocolul silvic Olănești, parcela 1N1, 1N2). Are o suprafață de 2 ha, sau 2,85 ha conform unor aprecieri mai recente. Obiectul este administrat de Întreprinderea de Stat pentru Silvicultură "Tighina" (Bender).

Istoric
Amplasamentul fosilifer din râpa de la Cioburciu a fost descoperit în 1909 de geologul F. Florov. Mai mulți savanți, inclusiv basarabeni, au efectuat săpături în zonă. Denumirea provine de la un numele unui localnic a cărui casă era în apropierea râpei.

Descriere
În acest sit au fost determinate mai multe niveluri litostratigrafice – argile, nisipuri și prundișuri. Cele mai bogate în material paleontologic sunt nisipurile cu stratificare oblică din partea inferioară a sitului de vârstă meoțiană, unde au fost descoperite oseminte, preponderent de mamifere.

La gura râpei aflorează nisipuri gălbui cu bucăți de cochilii de Mactra bulgarica de vârstă sarmațiană. Mai jos urmează un pachet de argile nisipoase (de culoare gălbuie sus și cafenie mai jos), cu grosimea de peste 20 m, care conține, în partea inferioară, fragmente rare de cochilii ale moluștelor de apă dulce (Unio, Cirithium etc.).

Partea inferioară a depozitelor găzduiește multe oseminte de animale vertebrate, în total aprox. 24 de specii, unele din ele fiind transportate și expuse la  și la Muzeul paleontologic al . Cele mai reprezentative specii descoperite sunt broasca-țestoasă Protestudo bessarabica, rozătoarele Spermophilinus cf. predai, Myomimus dehmi ș.a., carnivorele Amphicyon sp., Ictitherium viverrinum și Machairodus schlosseri, mastodontul Choerolophodon pentilici, dinoteriul Deinotherium giganteum, hiparionii Hipparion cf. verae și Hipparion cf. moldavicum, rinocerul Aceratherium incisivum, girafele Palaeotragus rouenii și Helladotherium duvernoyi, antilopa Tragoportax frolovi etc.

Statut de protecție
Obiectivul a fost luat sub protecția statului prin Hotărîrea Sovietului de Miniștri al RSSM din 8 ianuarie 1975 nr. 5, iar statutul de protecție a fost reconfirmat prin Legea nr. 1538 din 25 februarie 1998 privind fondul ariilor naturale protejate de stat. Deținătorul funciar al monumentului natural era, la momentul publicării Legii din 1998, Gospodăria Silvică de Stat Bender. care între timp a fost reorganizată în Întreprinderea de Stat pentru Silvicultură "Tighina" (Bender).

Aflorimentul din râpă constituie un reper pentru fauna meoțianului inferior și mediu din Republica Moldova. Conform situației din anul 2016, aria protejată era prost întreținută și nu avea hotarele bine delimitate.

Note

Bibliografie

Albu, Râpa lui
Raionul Ștefan Vodă

Râpa lui Albu


Musolino ist ein italienischer Familienname.

Namensträger
 Alejandro Musolino (* 1971), argentinischer römisch-katholischer Ordensgeistlicher, Weihbischof in Córdoba
 Benedetto Musolino (1809–1885), italienischer Soldat und Politiker
 Enrico Musolino (* 1928), italienischer Eisschnellläufer
 Giuseppe Musolino (1876–1956), kalebresischer Brigant
 Julien Musolino (* 1970), französischstämmiger Kognitionswissenschaftler und Psychologe
 Vincenzo Musolino (1930–1969), italienischer Schauspieler, Produzent und Filmregisseur

Familienname
Italienischer Personenname

Musolino


Doryanthes, maleni biljni rod iz reda šparogolike, koji se sastoji od dvije vrste koje čine samostalnu porodicu Doryanthaceae. Obje vrste australski su endemi iz Novog Južnog Walesa i Queenslanda. Sukulenti.

Vrste
 Doryanthes excelsa  Corrêa
 Doryanthes palmeri W. Hill ex Benth.

Izvori

Šparogolike

Doryanthes


Arpitanca (İtalyanca: francoprovenzale, arpitano, patoa; Fransızca: francoprovençal, arpitan, patois), Franko-Provensal dilinin en önemli lehçesidir. Yaklaşık 115,000 kişi tarafından konuşulmaktadır. Aosta bölgesinde resmi olarak kullanılır. 18 tane lehçeye sahip zengin bir dildir. En önemli lehçeleri Savoyard, Dauphinois, Lyonnais, Neuchâtelois, Genevois, Valdôtain'dır.

Dil hakkında

Dil, Fransa'nın İsviçre'nin ve İtalya'nın kesiştiği Alpler yöresinde konuşulmaktadır. Yöredeki yerleşik halk, dili yeni nesillere anadili olarak öğretmediğinden ve konuşan halkın giderek azalmasından dolayı, dil, nesli tükenme eşiğine gelmiştir. Dil bu nedenle 1995'te UNESCO tarafından koruma altına alınmıştır. Günümüzde anadili Arpitanca olan halkın büyük çoğunluğu Kuzey İtalya'da yaşamaktadır. Alpler'in bölgeyi dışa kapatmasının bir sonucu olarak, dil tarihin hiçbir döneminde Fransızca, Oksitanca, İtalyanca gibi komşu diller kadar yayılamamıştır.

Sözcüklerin Karşılaştırılması

Arpitanca edebiyatı

Arpitanca, dışa her ne kadar kapalı bir dil olsa da, kimi önemli şair ve yazarların yetişmesinde önayak olmuştur. Bernardin Uchard (1575–1624), Bresse'de doğan ünlü bir yazar ve oyun yazarıdır. Aynı şekilde Henri Perrin, Lyon doğumlu ünlü bir mizah yazarıdır. Jean Millet (1600?–1675), tanınmış bir yazar, şair ve komedi yazarıdır. Jacques Brossard de Montaney (1638–1702), Bresse doğumlu bir komedi yazarıdır; Jean Chapelon (1647–1694), Saint-Étienne doğumlu, ilahi ve deneme yazmış bir rahiptir. Aynı şekilde François Blanc dit la Goutte (1690–1742), "Grenoblo maléirou" adlı "1733 Gronoble seli" temalı şiirin şairidir.

19. yüzyılda da kendini belli eden Arpitanca edebiyatında, Guillaume Roquille (1804–1860), Joseph Béard (1805–1872) ve Louis Bornet (1818–1880) gibi şairlerin yanı sıra; Clair Tisseur (1827-1896), gibi ünlü bir yazar da yer almaktadır.

Aşağıda 1603 yılında yazılmış, şairi bilinmeyen bir Arpitanca şiir yer almaktadır:

Cé qu'è lainô, le Maitre dé bataille,
Que se moqué et se ri dé canaille;
A bin fai vi, pè on desande nai,
Qu'il étivé patron dé Genevoi.

I son vegnu le doze de dessanbro
Pè onna nai asse naire que d'ancro;
Y étivé l'an mil si san et dou,
Qu'i veniron parla ou pou troi tou.

Pè onna nai qu'étive la pe naire
I veniron; y n'étai pas pè bairè;
Y étivé pè pilli nou maison,
Et no tüa sans aucuna raison.

Kaynakça

Ölmek üzere olan diller

Arpitanca


Mihai Dragolea () a fost un prozator, eseist și critic literar român.

Biografie
Mihai Dragolea s-a născut în 1955 în Petroșani, fiu al juristului Ioan Dragolea și al economistei Floarea (n. Cismaru). S-a stabilit în Cluj-Napoca în anii studenției, începând să scrie articole de critică și eseistică în revista locală a studenților Echinox, în care a debutat în 1976. În 1980, a absolvit Facultatea de Filologie din cadrul Universității Babeș-Bolyai.

După anul 1990, a devenit redactor la secția de emisiuni culturale a TVR Cluj și, timp de câțiva ani, a predat la secția de jurnalism a Universității Babeș-Bolyai. În 1998, Dragolea a obținut doctoratul în filologie cu teza Literatura fragmentară, publicată în același an cu titlul Arhiva de goluri și plinuri; tot spre finalul deceniului a renunțat la scrierea textelor critice și a început publicarea de volume în proză.

A murit în orașul natal, Petroșani, în care se retrăsese în urmă cu câțiva ani ca șomer.

Bibliografie
 În exercițiul ficțiunii. Eseu despre Școala de la Tîrgoviște (eseu; 1992, reeditată în 2006)
 Arhiva de goluri și plinuri. Literatura fragmentară (eseu; 1998)
 Călătorii spre muchia de cuțit (proză scurtă; 1999)
 De departe spre aproape (roman; 2001)
 Colecția de mirări (secvențe; 2005)
 Funcționar la singurătăți sau Contabilul de imagini (2007)
 Epiderma de bazalt. Colecția de mirări 2 (2011)
 Proces de creponare cu păianjeni, zmeură și ceață (2013)

Referințe

Nașteri în 1955
Decese în 2016
Petroșeneni
Scriitori români
Prozatori români
Eseiști români
Critici literari români
Absolvenți ai Universității Babeș-Bolyai

Mihai Dragolea


Holtsee (tysk) eller Holtsø (dansk) er en by og kommune og en by i det nordlige Tyskland, beliggende i Amt Hüttener Berge i den østlige del af Kreis Rendsborg-Egernførde. Kreis Rendsborg-Egernførde ligger i den centrale del af delstaten Slesvig-Holsten.

Geografi
Holtsee ligger øst for Vittensø og sydøst for Hytten Bjerge, ca. seks kilometer syd for Egernførde.

I kommunen ligger ud over Holtsee landsbyerne Lehmsiek (på dansk Lemsig, delvist), Harzhof, Hohenlieth, Harfe, Hohenholm, Grünhorst, Lagenburg og Neu Holtsee.

Eksterne kilder/henvisninger

 Kommunens websted.
 Statistikamt Nord – Bevölkerung der Gemeinden in Schleswig-Holstein 4. Quartal 2013 (XLSX-Data) (Fortschreibung auf Basis des Zensus 2011)

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Sergey Mikhaylovich Prokudin-Gorsky (;  – September 27, 1944) was a Russian chemist and photographer. He is best known for his pioneering work in colour photography and his effort to document early 20th-century Russia.

Using a railway-car darkroom provided by Emperor Nicholas II, Prokudin-Gorsky travelled the Russian Empire from around 1909 to 1915 using his three-image colour photography to record its many aspects. While some of his negatives were lost, the majority ended up in the US Library of Congress after his death. Starting in 2000, the negatives were digitised and the colour triples for each subject digitally combined to produce hundreds of high-quality colour images of Russia and its neighbours from over a century ago.

Biography

Early life
Prokudin-Gorsky was born in the ancestral estate of Funikova Gora, in the Pokrovsky Uyezd of the Vladimir Governorate (now Kirzhachsky District, Vladimir Oblast). His parents were of the Russian nobility, and the family had a long military history. They moved to Saint Petersburg, where Prokudin-Gorsky enrolled in Saint Petersburg State Institute of Technology to study chemistry under Dmitri Mendeleev. He also studied music and painting at the Imperial Academy of Arts.

Marriage and career in photography
In 1890, Prokudin-Gorsky married Anna Aleksandrovna Lavrova, and later the couple had two sons, Mikhail and Dmitri, and a daughter, Ekaterina. Anna was the daughter of the Russian industrialist Aleksandr Stepanovich Lavrov, an active member in the Imperial Russian Technical Society (IRTS). Prokudin-Gorsky subsequently became the director of the executive board of Lavrov's metal works near Saint Petersburg and remained so until the October Revolution. He also joined Russia's oldest photographic society, the photography section of the IRTS, presenting papers and lecturing on the science of photography.

In 1901, Prokudin-Gorsky established a photographic studio and laboratory in Saint Petersburg. The following year, he travelled to Berlin and spent 6 weeks studying colour sensitization and three-colour photography with photochemistry professor Adolf Miethe, the most advanced practitioner in Germany at that time. Throughout the years, Prokudin-Gorsky's photographic work, publications and slide shows to other scientists and photographers in Russia, Germany and France earned him praise, and in 1906 he was elected the president of the IRTS photography section and editor of Russia's main photography journal, the Fotograf-Liubitel. Gorsky was a member of the Royal Photographic Society between 1920 and 1932.

Perhaps Prokudin-Gorsky's best-known work during his lifetime was his color portrait of Leo Tolstoy, which was reproduced in various publications, on postcards, and as larger prints for framing. The fame from this photo and his earlier photos of Russia's nature and monuments earned him invitations to show his work to the Russian Grand Duke Michael Alexandrovich and Dowager Empress Maria Feodorovna in 1908, and to Tsar Nicholas II and his family in 1909. The Tsar enjoyed the demonstration, and, with his blessing, Prokudin-Gorsky got the permission and funding to document Russia in color. In the course of ten years, he was to make a collection of 10,000 photos. Prokudin-Gorsky considered the project his life's work and continued his photographic journeys through Russia until after the October Revolution. Under the new regime he was forced to accept a professorship and in August 1918 was ordered by the Education Ministry to procure projection equipment in Norway. He still pursued scientific work in color photography, published papers in English photography journals and, together with his colleague , obtained patents in Germany, England, France and Italy.

Later life and death
In 1920, Prokudin-Gorsky remarried and had a daughter with his assistant Maria Fedorovna née Schedrina. The family finally settled in Paris in 1922, reuniting with his first wife and children. Prokudin-Gorsky set up a photo studio there together with his three adult children, naming it after his fourth child, Elka. In the 1930s, the elderly Prokudin-Gorsky continued with lectures showing his photographs of Russia to young Russians in France, but stopped commercial work and left the studio to his children, who named it Gorsky Frères. He died in Paris on September 27, 1944, a month after the Liberation of Paris. He is buried in the Sainte-Geneviève-des-Bois Russian Cemetery.

Photography technique

Three-color principle

The method of color photography used by Prokudin-Gorsky was first suggested by James Clerk Maxwell in 1855 and demonstrated in 1861, but good results were not possible with the photographic materials available at that time. In imitation of the way a normal human eye senses color, the visible spectrum of colors was divided into three channels of information by capturing it in the form of three black-and-white photographs, one taken through a red filter, one through a green filter, and one through a blue filter. The resulting three photographs could be projected through filters of the same colors and exactly superimposed on a screen, synthesizing the original range of color additively; or viewed as an additive color image by one person at a time through an optical device known generically as a chromoscope or photochromoscope, which contained colored filters and transparent reflectors that visually combined the three into one full-color image; or used to make photographic or mechanical prints in the complementary colors cyan, magenta and yellow, which, when superimposed, reconstituted the color subtractively.

Early practitioners
Louis Ducos du Hauron conducted early experiments with the three-color principle in the late 1860s. During the period from the 1870s to the 1890s, he created several color prints and photographs.

In 1877, Edward Bierstadt showcased the first successful three-color prints in the United States. His work gained attention in the 1890s when he exhibited color prints of various subjects such as oil and watercolor paintings, floral studies, and portraits from life.

The first person to widely demonstrate good results by this method was Frederic E. Ives, whose "Kromskop" system of viewers, projectors and camera equipment was commercially available from 1897 until about 1907. Only the viewers and ready-made triple photographs for use in them sold in any significant quantity. Still life arrangements, unpopulated landscapes and oil paintings were the typical subject matter, but a few examples of color portraiture from life were also offered.

Another very notable practitioner was Adolf Miethe, with whom Prokudin-Gorsky studied in Germany in 1902. Miethe was a photochemist who greatly improved the panchromatic characteristics of the black-and-white photographic materials suitable for use with this method of color photography. He presented projected color photographs to the German Imperial Family in 1902 and was exhibiting them to the general public in 1903, when they also began to appear in periodicals and books. Miethe took the first known aerial color photographs, from a hot air balloon, in 1906.

In England in 1899 Ives's former assistant, Edward Sanger-Shepherd, commercialized the application of the three-colour process in the "Sanger Shepherd process of natural colour photography". With his process in 1903 and 1904 Sarah Angelina Acland produced the first substantial body of work in colour photography by an amateur photographer. By 1905 seventeen different photographers had shown three-colour slides by the Sanger-Shepherd process at exhibitions of the Royal Photographic Society in England.

In 1905, the Neue Photographische Gesellschaft established a color photography studio in Berlin. The studio utilized the three-color principle and employed a printing process developed by Robert Krayn. Some of the resulting images were published as postcards, featuring notable individuals including Kaiser Wilhelm II and Pope Pius X.

Equipment

Photographic plates, which had the light-sensitive emulsion coated on a thin sheet of glass, were normally used instead of flexible film, both because a general transition from glass plates to plastic film was still in progress and because glass provided the best dimensional stability for three images intended to match up perfectly when they were later combined.

An ordinary camera could be used to take the three pictures, by reloading it and changing filters between exposures, but pioneering color photographers usually built or bought special cameras that made the procedure less awkward and time-consuming. One of the two main types used beam splitters to produce three separate images in the camera, making all three exposures at the same time and from the same viewpoint. Although a camera of this type was ideal in theory, such cameras were optically complicated and delicate, and liable to get out of adjustment. Some designs were also subject to optical phenomena that could cause noticeably uneven color or other defects in the results. The other, more robust type was an essentially ordinary camera with a special sliding holder for the plates and filters that allowed each in turn to be efficiently shifted into position for exposure—an operation sometimes partly or even entirely automated with a pneumatic mechanism or spring-powered motor.

When the three color-filtered photographs were not taken at the same time, anything in the scene that did not hold steady during the entire operation would exhibit colored "fringes" around its edges in the resulting color image. If it moved continuously across the scene, three separate strongly-colored "ghost" images could result. Such color artifacts are plainly visible in ordinary color composites of many of Prokudin-Gorsky's photographs, but special digital image processing software was used to artificially remove them, whenever possible, from the composites of all 1,902 of the images commissioned by the Library of Congress in 2004. The altered versions have proliferated online and older or third-party versions showing these tell-tale peculiarities are increasingly scarce.

Adolf Miethe designed a high-quality, sequential-exposure color camera, which was manufactured by Bermpohl and became available commercially in 1903. Prokudin-Gorsky published an illustration of it in Fotograf-Liubitel in 1906. The most common model used a single oblong plate 9 cm wide by 24 cm high, the same format as Prokudin-Gorsky's surviving negatives, and it photographed the images in unconventional blue-green-red sequence, which is also a characteristic of Prokudin-Gorsky's negatives if the usual upside-down image in a camera and gravity-compliant downward shiftings of his plates are assumed. An inventor as well as a photographer, Prokudin-Gorsky patented an optical system for cameras of the simultaneous-exposure type, and it is often claimed or implied that he invented, or at least built, the camera used for his Russian Empire project. No definite written or photographic documentation of his field equipment is known to exist, only the evidence inherent in the photographs themselves, and no rationale has been suggested for going to the trouble and expense of building a functionally identical copy of a Miethe-Bermpohl camera instead of simply buying one.

Miethe and Bermpohl also produced a matching three-color projector and a chromoscope. The Goerz optical company made a differently configured and more powerful three-color projector for Miethe. It, too, was commercially available.

Exposures
The required exposure time depended on the lighting conditions, the sensitivity of the photographic plate, and the camera lens aperture used. In a letter to Leo Tolstoy requesting a portrait sitting, Prokudin-Gorsky described the exposure as taking one to three seconds, but later, when recollecting his time with Tolstoy, he described a six-second exposure on a sunny day. Blaise Agüera y Arcas studied one landscape view, photographed in broad daylight but showing a clear, well-defined moon, and used the moon's movement to estimate that the whole procedure of three filtered exposures and two repositionings of the camera's plate holder had taken over a minute. The lens aperture Prokudin-Gorsky chose to use greatly affected the exposure time required. A small aperture is often used for landscape photography because it allows objects at various distances to all be sharply imaged at the same time, while the use of a large aperture is common for portraiture and plainly evident in the Tolstoy portrait. All other factors being equal, if for example a 16-second exposure was required when using a -inch-diameter aperture, an exposure of only 1 second would suffice with a 1-inch aperture.

Other processes
Prokudin-Gorsky was also acquainted with the use of Autochrome color plates, which did not require a special camera or projector. He was one of the favored few the Lumière Brothers introduced to their new product in 1906, the year before it went into commercial production. Autochrome plates were expensive and not sensitive enough for casual "snapshots" with a hand-held camera, but their use was simple and in expert hands they were capable of producing excellent results. They made color photography truly practical for advanced amateurs and led some pioneering users of color separation cameras to abandon their methods as outmoded, but Prokudin-Gorsky was not won over. No Autochromes by Prokudin-Gorsky are known to survive.

Although photographic color prints of the images were difficult to make at the time and slide show lectures consumed much of the time Prokudin-Gorsky used to demonstrate his work, photomechanical color prints of some were published in journals and books, and his studio issued some, most notably the Tolstoy portrait, as postcards and large photogravures. Many of the original prints published by his studio still survive.

Prokudin-Gorsky's own inventions, some of them collaborative, led to the granting of numerous patents, most issued during the years of his voluntary exile and not directly related to the body of work on which his fame now rests. Some concern processes for making subtractive color transparencies, which do not require any special projection or viewing equipment. Examples of these were preserved by Prokudin-Gorsky's family and have recently appeared online. Most of his patents relate to the production of natural-color motion pictures, a potentially lucrative application that attracted the attention of many inventors in the field of color photography during the 1910s and 1920s.

Documentary of the Russian Empire
Around 1905, Prokudin-Gorsky envisioned and formulated a plan to use the emerging technological advances that had been made in color photography to document the Russian Empire systematically. Through such an ambitious project, his ultimate goal was to educate the schoolchildren of Russia with his "optical color projections" of the vast and diverse history, culture, and modernization of the empire.

Outfitted with a specially equipped railroad-car darkroom provided by Tsar Nicholas II and in possession of two permits that granted him access to restricted areas and cooperation from the empire's bureaucracy, Prokudin-Gorsky documented the Russian Empire between around 1909 and 1915. He conducted many illustrated lectures of his work. His photographs offer a vivid portrait of a lost world—the Russian Empire on the eve of World War I and the coming Russian Civil War. His subjects ranged from the medieval churches and monasteries of old Russia, to the railroads and factories of an emerging industrial power, to the daily life and work of Russia's diverse population.

It has been estimated from Prokudin-Gorsky's personal inventory that before leaving Russia, he had about 3,500 negatives. Upon leaving the country and exporting all his photographic material, about half of the photos were confiscated by Russian authorities for containing material they deemed strategically sensitive for war-time Russia. According to Prokudin-Gorsky's notes, the photos left behind were not of interest to the general public. Some of Prokudin-Gorsky's negatives were given away, and some he hid on his departure. Outside the Library of Congress collection, none has yet been found.

By the time of Prokudin-Gorsky's death, the Tsar and his family had long since been executed during the Russian civil war, and most of the former empire was now the Soviet Union. The surviving boxes of photo albums and fragile glass plates the negatives were recorded on were finally stored in the basement of a Parisian apartment building, and the family was worried about them getting damaged. The United States Library of Congress purchased the material from Prokudin-Gorsky's heirs in 1948 for $3,500–$5,000 on the initiative of a researcher inquiring into their whereabouts. The library counted 1,902 negatives and 710 album prints without corresponding negatives in the collection.

Digital color rendering

Due to the very specialized and labor-intensive processes required to make photographic color prints from the negatives, only about a hundred of the images were used in exhibits, books and scholarly articles during the half-century after the Library of Congress acquired them. Their widest exposure was in the 1980 coffee table book Photographs for the Tsar: The Pioneering Color Photography of Sergei Mikhailovich Prokudin-Gorskii Commissioned by Tsar Nicholas II, in which the color images are combined yellow, magenta and cyan ink-on-paper halftones mass-produced with a multicolor printing press in the usual way.

It was only with the advent of digital image processing that multiple images could be quickly and easily combined into one. The Library of Congress undertook a project in 2000 to make digital scans of all the photographic material received from Prokudin-Gorsky's heirs and contracted with the photographer Walter Frankhauser to combine the monochrome negatives into color images. He created 122 color renderings using a method he called digichromatography and commented that each image took him around six to seven hours to align, clean and color-correct. In 2001, the Library of Congress produced an exhibition from these, The Empire That Was Russia: The Prokudin-Gorskii Photographic Record Recreated. The photographs have since been the subject of many other exhibitions in the area where Prokudin-Gorsky took his photos.

In 2004, the Library of Congress contracted with computer scientist Blaise Agüera y Arcas to produce an automated color composite of each of the 1,902 negatives from the high-resolution digital images of the glass-plate negatives. He applied algorithms to compensate for the differences between the exposures and prepared color composites of all the negatives in the collection. As the library offers the high-resolution images of the negatives freely on the Internet, many others have since created their own color representations of the photos, and they have become a favorite testbed for computer scientists.

Gallery
Some of Sergey Prokudin-Gorsky's photographs, digitally processed, made available by the Library of Congress:

See also
Levi Hill
Thomas Sutton (photographer)
 Albert Kahn, a patron of photography who funded photographers to travel around the world recording color images and cine film of diverse ethnic societies between 1909 and 1931.
 Ansel Adams, American black-and-white photographer who was commissioned by a number of organizations to document the American West.

References

External links

 Illustrated biography of S. M. Prokudin-Gorsky (2011)
 The Empire That Was Russia: The Prokudin-Gorskii Photographic Record Recreated – Library of Congress exhibit
  - 2013 documentary by Leonid Parfenov (with English subtitles)
 +60 restorated images by Alex Gridenko using digichromatography
 Dagestan archival footage by Sergey Prokudin-Gorsky, between 1905 and 1915

1863 births
1944 deaths
People from Kirzhachsky District
People from Pokrovsky Uyezd
Photographers from the Russian Empire
Soviet photographers
Pioneers of photography
Inventors from the Russian Empire
Technical University of Berlin alumni
Chemists from the Russian Empire
Saint Petersburg State Institute of Technology alumni
Soviet emigrants to France
Burials at Sainte-Geneviève-des-Bois Russian Cemetery

Sergey Prokudin-Gorsky


Jennifer Pettke (* 29. Mai 1989 in Leverkusen) ist eine deutsche Volleyballspielerin.

Karriere
Pettke begann ihre Karriere in den Nachwuchsmannschaften von Bayer 04 Leverkusen. Sie spielte in der Regionalliga und kam schließlich in die Bundesliga-Mannschaft des Vereins. 2007 nahm sie als Ersatz für Nora Götz mit der deutschen Junioren-Nationalmannschaft an der Weltmeisterschaft in Thailand teil und erreichte den siebten Platz. Nachdem die Mittelblockerin mit Leverkusen 2013 zum dritten Mal Meister der Zweiten Bundesliga Nord geworden war, wechselte sie zum Bundesligisten VT Aurubis Hamburg. Am 7. Juni 2014 gab Pettke beim Europaliga-Spiel gegen Spanien ihr Debüt in der A-Nationalmannschaft. Im Sommer wechselte sie außerdem innerhalb der Bundesliga zum 1. VC Wiesbaden. 2016 wechselte Pettke zum Ligakonkurrenten Allianz MTV Stuttgart und ein Jahr später zu den Roten Raben Vilsbiburg. Nach einer Saison 2019/20 bei Schwarz-Weiss Erfurt beendete sie ihre Karriere.

Weblinks

Einzelnachweise

Volleyballnationalspieler (Deutschland)
Volleyballspieler (Bayer 04 Leverkusen)
Volleyballspieler (TV Fischbek)
Volleyballspieler (1. VC Wiesbaden)
Volleyballspieler (Allianz MTV Stuttgart)
Volleyballspieler (Rote Raben Vilsbiburg)
Volleyballspieler (Schwarz-Weiss Erfurt)
Deutscher
Geboren 1989
Frau

Jennifer Pettke


Vaime Kabur (numit la naștere Vilandberg, iar în perioada 1936-1941 Vilgma; n. 8 decembrie 1914, comuna Pada, Virumaa – d. 2 februarie 2005, Tallinn) a fost un bibliograf estonian.

Biografie
A urmat studii de literatură estoniană la Universitatea din Tartu în perioada 1934-1940 și apoi studii de bibliografie și biblioteconomie în perioada 1948-1950.

În perioada 1947-1968 a fost bibliograf principal al Bibliotecii Naționale a RSS Estone, iar în anii 1968-1983 a fost bibliograf șef.

El a realizat, printre altele, bibliografia personală a mai multor scriitori estoni (printre care A. H. Tammsaare).

Distincții
 1998 Ordinul Stema națională clasa a V-a

Referințe

Nașteri în 1914
Decese în 2005
Estoni
Bibliografi

Vaime Kabur


الأجنحة المنكسرة (باللغة التركية: Kırık Kanatlar) هو مسلسل تركي درامي عسكري تاريخي ذو طابع عاطفي، يروي قصصاً تدور أحداثها في مطلع القرن المنصرم وتحديداً في إبّان نشوب الحرب بين  و، وما تلا هذه الحرب من نتائج وتبعات. وهو مدبلج إلى اللغة العربية باللهجة السورية عرض على قناة إم بي سي 4.

البطولة
المسلسل من بطولة كلٍ من:
1-نازلي
2-عائشة
3-زينب
4-النقيب جمال
5-الملازم نوزت
6-العريف يونس

طاقم العمل والشخصيات
 أوزكه أوزبرك (نازلي)
 جانسل إلتشين (النقيب جمال)
 بيغوم بيرغورين (عائشة)
 محمد علي نور أوغلو (نوزت)
 Şemsi İnkaya (المختار رجب)
 Türkü Hazer (زينب)
 سايجين سويسال (يونس)
 بيرك هاكمان (كريستو)
 Ceren Şekercioğlu (ليلى)
 باريش باجي (حليم)
 Ali Ulvi Hünkar (مصطفى كمال)

دبلجة المسلسل
دبلجت شركة سامة للإنتاج والتوزيع الفني السورية المسلسل من اللغة التركية إلى العربية باللهجة السورية ، وقد أدى الدبلجة مجموعة من الممثلين السوريين.

دبلجة أسماء الشخصيات
لم يتم تغيير أي اسم من أسماء الشخصيات لأن أغلبها عربية حيث تم الاحتفاظ بهما، باستثناء نازلي ونوزت حيث أن أحداث المسلسل قريبة من الفترة العثمانية.
نازلي: رولا ذبيان- نوزت: رامز الأسود...

دبلجة أسماء الأماكن
لم تُغير أسماء الدول والمدن والأماكن في المسلسل.

ملخص المسلسل
أعاد سير أحداث المسلسل التركي «الأجنحة المنكسرة» الذي عرض مؤخرا على شاشة mbc4 إلى أذهان الجزائريين ذكريات الحرب التي أسقطت مليون شهيد للاستقلال عن فرنسا، وفترة ما بعد الحصول على الاستقلال، حيث ذكرتهم «نازلي» المعلمة الأولى في القرية بمعلمات جزائريات إبان ثورة التحرير.
مراسلة موقع mbc.net استطلعت ردود فعل جزائريين حول مسلسل «الأجنحة المنكسرة»، حيث رصدت أصداء إيجابية للمسلسل هناك، لكن نهاية المناضلة الوطنية ابنة الوطني «نازلي» لم تلق ارتياحا لدى الكثير من الجزائريين.
فقد حظي مسلسل «الأجنحة المنكسرة» بمتابعة الجزائريين بصورة تضاهي مسلسلي «سنوات الضياع» و«نور»، لأنه جمع بين الحب والحرب، وذلك بحسب فائزة -42 سنة ومدرسة لغة عربية ثانوي-.
وقالت «تميز مسلسل الأجنحة المنكسرة بواقعية شديدة، نقلتنا إلى الجزائر غداة الاستقلال، حيث كانت الدولة فتية، خارجة لتوها من حرب أتون، دمرت كل شيء، كل واحد أصبح يقدم ما يستطيع لبناء الدولة الجزائرية الحديثة».
وأضافت «والدي مجاهد خدم الثورة من موقعه كمعلم بالمدرسة الأهلية، التي كانت مهمتها تعليم اللغة العربية، وقد ذكّرتنا نازلي المعلمة الأولى في القرية بمعلمات جزائريات إبان ثورة التحرير».
لكن نهاية المناضلة الوطنية ابنة الوطني «نازلي» لم تلق ارتياحا لدى الكثيرين، كما قالت فائزة «فالموت انتحارا مرفوض في الإسلام، ومع ذلك قد نقبله بتحفظ للنقيب جمال لكونه مشلولا في عز شبابه، ولو وجد صديقا يخفف عنه ربما تجاوز عجزه بعمل آخر».
واعتبرت أن انتحار نازلي لا يجوز من أجل الحب، ولو كانت تريد أن تثبت حبها للنقيب جمال كان عليها المواظبة على تعليم الصغار، وتحكي لهم عن المجاهدين في حرب تحرير تركيا من الاحتلال اليوناني.
أما «زهية» -38 سنة طبيبة- فعلقت على دور الممرضة «فريدة» في المسلسل، قائلة «صحيح أيام الحروب يصبح الممرض طبيبا في حالات ينعدم فيها وجود الأطباء، ولكنها بالغت في ممارسة عملها حتى أهملت بيتها وعائلتها، فأنا طبيبة أطفال، وعندي ثلاثة أطفال لا أرى ضرورة لإهمال بيتي».
خلافات ما بعد الاستقلال
من جانبها، رأت نشيدة -29 سنة وتعمل مخرجة مسرحية- أن "المسلسل نقل صورة قريبة جدا عن تركيا خلال وبعد حرب التحرير، وأظهر الخلافات بعد الاستقلال كما جاء على لسان النقيب سعيد للملازم نورت بعد العفو عنه لإعادة الاعتبار له كوطني "من حارب معنا صار ضدنا، وكل واحد يريد قيادة البلد وفق مزاجه، ولا نعرف من معنا ولا من ضدنا، مرحلة لم يعد يعرف الوطني من الخائن".
أما الحاج عبد القادر وعائلته الكبيرة فكانت حريصة على متابعة حلقات «الأجنحة المنكسرة»، خاصة أنه كان مجاهدا ضد الفرنسيين أيام الاحتلال.
وقال عبد القادر «لم أكن غنيا مثل والد نازلي أو الحاج فريد صاحب معصرة الزيتون، الذين قدما المال لدعم الجيش التركي بالسلاح».
غير أنه قال «قدمت عمري للثورة، لم أفز بالشهادة، ولكن كسبت شرف الحرب».
وأضاف «هذا المسلسل تابعته من أوله، وأكثر ما شدني صورة الشهداء في ساحة الحرب، ذكّرتني بحربنا مع فرنسا، لم يكن هناك توازن سلاح بيننا مثلما يحدث الآن في غزة، كنا نندفع للقتال بشجاعة ويغمرنا فرحة الفوز بالشهادة، بينما الجنود الفرنسيون كانوا يخافون من المجاهدين، هذا المسلسل فعلا رائع ذكّرنا بأيام الثورة وبداية الاستقلال».
وعما رآه بالمسلسل عند سنوات الاستقلال الأولى، قال الحاج عبد القادر «عاشت الجزائر ظروفا مشابهة لعصابات المختار رجب أفندي ورشاد بك في المسلسل، حيث صنعت فرنسا منظمة سرية للاغتيالات في الجزائر.. عشنا ظروفا صعبة».

قصة المسلسل
«الأجنحة المنكسرة» مسلسل درامي عسكري تاريخي ذو طابع عاطفي، يروي قصصا تدور أحداثها في مطلع القرن المنصرم، وتحديدا إبّان نشوب الحرب بين تركيا واليونان، وما تلا هذه الحرب من نتائج وتبعات.
وتتعاقب أحداث المسلسل المتسارعة في بلدة صغيرة تقع في غربي تركيا؛ حيث تلعب أدوار البطولة ثلاث فتيات يعشن في بيت واحد (نازلي وابنتا عمها عائشة وزينب).
وتقوم الفتيات بإيواء هارب من الجيش اليوناني في بيتهنّ خلال الحرب، وعند اكتشاف القصة يتهم المختار «رجب» الفتيات بالخيانة، ولاسيّما بعد محاولاته الفاشلة في تزويج ابنه الوحيد كاظم لـ«نازلي».
وسرعان ما تقع نازلي في حب النقيب جمال، الذي يُنقل إلى البلدة في أعقاب الحرب من دون أن تصرّح له بحبها، فيما تشاركها ابنة عمها عائشة هذا الحب لنفس الرجل، وهو ما يوجد أزمة عائلية بين الفتيات.
وعلى صعيد آخر تدور العديد من الأحداث المشوّقة والمثيرة، كمحاولة المختار التعاون مع إحدى العصابات لتدبير جريمةٍ تساعده على إتمام مخطّطاته، وكذلك قيام أحد المجرمين بخطف عائشة، فضلا عن قصة الحب المستحيلة التي تجمع بين نازلي وجمال من جهة، ولاحقا بين عائشة والضابط نوزت من جهةٍ أخرى.
وفي الصراع المشتعل بين الحب والحرب، والولاء والخيانة.. الأمل والألم.. الحب والحقد.. تتأرجح أحداث المسلسل الشيّق وتحملنا إلى عالمٍ مليء بالمتغيّرات السياسية والفكرية.. بل وحتى العاطفية، ضمن قالبٍ دراميٍّ شيّقٍ ومفاجآت مثيرة، وصدمات مؤلمة في كثيرٍ من الأحيان.

وصلات خارجية
 Kanal D
 Resmi Sitesi
 Sevenlerinin Sitesi
 Dizi Merkezi-Kırık Kanatlar

مراجع

مسلسلات تلفزيونية انتهى عرضها في 2006
مسلسلات تلفزيونية تركية دبلجت للعربية
مسلسلات دراما تلفزيونية

الأجنحة المنكسرة (مسلسل)


Hipodromul Băneasa a fost un hipodrom aflat la periferia de nord a orașului București (azi cartierul Băneasa, pe atunci comuna suburbană Băneasa). Hipodromul ocupa o suprafață de 62 ha, situată pe locul unde se găsesc azi Casa Presei Libere, pavilionul ROMEXPO, Hotel Crowne Plaza Flora, Hotel Ramada Bucharest Parc.

Istoric
Hipodromul Băneasa era proprietatea Jockey Clubului român și a fost construit după planurile arhitectului Ion D. Berindey, care studiase în amănunt hipodromurile franceze.

Inaugurarea a avut loc în 1908 în prezența Familiei Regale a României.

În 1909, aviatorul francez Louis Blériot a participat la o demonstrație aviatică organizată pe suprafața cu iarbă a hipodromului.

După lovitura de stat de la 30 decembrie 1947, hipodromul a fost demolat de către puterea comunistă, în scopul de a face loc Casei Scînteii (azi Casa Presei Libere) - clădire-simbol inspirată după Universitatea Lomonosov din Moscova - dar și pentru a înlătura un loc în care se adunau frecvent membrii înaltei societăți din București. Demolarea a avut loc în două etape: partea din dreapta a hipodromului a dispărut în 1952, cu ocazia construirii Casei Scînteii, iar partea din stânga în 1960, cu ocazia inaugurării complexului expozițional (azi ROMEXPO).

În anul 2006, Jockey Club (club care fusese reînființat în 1990) a revendicat terenul care a aparținut fostului hipodrom.

Referințe

Băneasa
Călărie
Sporturi ecvestre
Foste clădiri și structuri din București
Fondări în 1908 în România
Desființări în 1952
Desființări în 1960

Hipodromul Băneasa


Pješčani trputac (lat. Plantago indica, sin. Plantago arenaria), jednopgodišnja raslinja iz roda trputaca, porodica trpučevke. Rasprostranjen je po južnoj, središnjoj i istočnoj Europi, a raste po suhim i pjeskovitim tlima, pa joj otuda i ime. Uvezena je u niz država po Europi (Belgija, Švicarska, Estonija, Latvija, Litva, Bjelorusija), Aziji (Kina), i Americi (SAD, Kanada, gdje je nazivaju "sand plantain") i Australiji.

Naraste do 30 cm (jednu stopu). Cvate od srpnja do kolovoza. Hermafrodit (ima i muške i ženske organe), oprašuje se vjetrom.

Sinonimi
 Plantago annua (Thuill.) Rauschert
 Plantago arenaria Waldst. & Kit.
 Plantago arenaria var. garganica Ten.
 Plantago arenaria subsp. orientalis (Soják) Greuter & Burdet
 Plantago arenaria var. rossica (Tuzson) Lewalle
 Plantago italica S.G.Gmel. ex Steud.
 Plantago latifolia Wissjul.
 Plantago psyllia St.-Lag.
 Plantago psyllium L.
 Plantago ramosa Asch.
 Plantago ruthenica Adams ex Decne.
 Plantago scabra Moench
 Plantago scabra subsp. orientalis (Soják) Tzvelev
 Psyllium annuum Thuill.
 Psyllium arenarium (Waldst. & Kit.) Mirb.
 Psyllium arenarium subsp. orientale (Soó) Soják
 Psyllium indicum (L.) Mirb.
 Psyllium indicum subsp. orientale Soják
 Psyllium ramosum Gilib.
 Psyllium scabrum (Moench) Holub
 Psyllium scabrum subsp. orientale (Soó) Holub

Izvori

Trputac

Pješčani trputac


Corinna Rüffer (nascida a 11 de outubro de 1975) é uma política alemã da Aliança 90/Os Verdes que serve como membro do Bundestag pelo estado da Renânia-Palatinado desde 2013.

Carreira política
Em 1999 Rüffer juntou-se ao partido Bündnis 90/Die Grünen. Ela tornou-se membro do Bundestag nas eleições federais alemãs de 2013, representando o círculo eleitoral de Trier. No parlamento, é membro da Comissão do Trabalho e dos Assuntos Sociais e da Comissão das Petições.

Membros do Bundestag 2013-2017
Membros do Bundestag 2017-2021
Membros do Bundestag 2021-2025
Pessoas vivas
Nascidos em 1975
!Mais Teoria da História na Wiki (Mulheres)

Corinna Rüffer


Sorte måne er en dansk kortfilm fra 2015 instrueret af Kasper Skovsbøl.

Handling
Middelalderen. På en klippeø langt fra fastlandet dør mændene én efter én. Sygdommen spreder sig, og det samme gør angsten for at mørkere kræfter er på spil. En stormfuld nat opsøges Anna af øens præst, som ængsteligt fortæller, at Annas datter på mystisk vis er flygtet fra fangenskab. Datteren beskyldes for at have haft forbindelse til samtlige af de syge mænd, og øens beboere retter nu opmærksomheden mod Anna, som mistænkes for at skjule hende. Anna må nu kæmpe for ikke at blive udstødt, men da hun pludselig opsøges af sin gådefulde datter, tvinges hun til at vælge: Skal hun beskytte sin datter eller tro på beskyldningerne og dømme sit eget barn til døden?

Medvirkende

 Karen-Lise Mynster
 May Simón Liefschitz
 Anders Hove
 Peter Plaugborg
 Olaf Højgaard
 Nanna Voss

Referencer

Eksterne henvisninger

Kortfilm fra Danmark
Filmskolefilm fra Danmark
Danske film fra 2015

Sorte måne


Sobrescobio, İspanya'nın 17 otonom bölgesinden kuzeyde, Cantabrian Denizi'ne kıyısı bulunan, içinde İspanya Krallığı'nın da bulunduğu Asturias Prensliği'ne bağlı belediyedir. 2002 yılındaki nüfusu; 839'dur.

Asturias'ın belediyeleri

Sobrescobio